(LEA) Theme of Persuasion, Power, and Propaganda

Theme of Persuasion, Power, and Propaganda

Napoleon crossing the Alps - Malmaison by Jacques-Louis David"Advertising and spreading different kinds of views - religious, political, and social - has been a very common way of promoting information throughout history. Therefore, the definition for "propaganda" describes it as chiefly derogatory information of a biased or misleading nature, used to promote or publicize a particular political cause or point of view. However, there is a vast majority of ways to address or commercialize particular information. One of the earliest ideas of how to convince someone is through the propaganda in art." (Propaganda in Art History)

Throughout the history of art, propaganda has been used as a powerful tool to influence the minds of the people. Propaganda is an effective manipulative tool to persuade a society or culture to think a certain way. Politicians and governments typically use propaganda to generate a supportive response to their own goals and policies. It is simply a form of advertisement, and it uses strong visual elements and artistic values to attract the viewer's attention. Art is the reason why propaganda works. Without aesthetic appeal, propaganda would be too understated to attract attention.

Questions for Thought

  • What is propaganda?
  • What forms can propaganda take?
  • How is it used in politics? In religion?
  • What techniques are used to persuade us of their point of view?
  • Why was propaganda used?
  • What are the various propaganda techniques and how do they affect the dissemination of information?

The College Board has used this theme on the AP Art History exam predominantly over the years. This review component has been designed to help you explore this theme. In the earlier modules, you were introduced to several works that use symbols and iconography. The following list is just a few examples.

In this module, a few of the works that are good examples of propaganda and persuasion are the following:

  • The Oath of the Horatii. Jacques-Louis David. 1784 C.E. Oil on canvas.
  • La Grande Odalisque. Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas.
  • Liberty Leading the People. Eugène Delacroix. 1830 C.E. Oil on canvas.
  • Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. Francisco de Goya. 1810-1823 C.E. (published 1863). Etching, drypoint, burin, and burnishing.

The following images from the past module would be good examples of patronage.

  • Palette of King Narmer. Predynastic Egypt. c. 3000 - 2920 B.C.E. Greywacke.
  • The Code of Hammurabi. Babylon (modern Iran). Susa. c. 1792 - 1750 B.C.E. Basalt.
  • Mortuary Temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1353 - 1335 B.C.E. Limestone.
  • Akhenaton, Nefertii, and three daughters. New Kingdom (Amarna), 18th Dynasty. c. 1353 - 1335 B.C.E. Limestone.
  • Audience Hall (apadana) of Darius and Xerxes. Persepolis, Iran. Persian. c. 520 - 465 B.C.E. Limestone.
  • Great Altar of Zeus and Athena at Pergamon.   Asia Minor (present day Turkey). Hellenistic Greek. c. 75 B.C.E. Marble (architecture and sculpture).
  • Alexander Mosaic from the House of the Faun, Pompeii. Republican Rome. c. 100 B.C.E. Mosaic.
  • Augustus of Prima Porta. Imperial Roman. Early first century C.E. Marble.
  • Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70 - 80 C.E. Stone and concrete.
  • Colum of Trajan. Forum of Trajan. Roman, Italy. Apollodorus of Damascus. Forum and markets: 106 -112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble (column).
  • Emperor Justinian mosaics. San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic.
  • Alhambra Palace. Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding.
  • Bayeux Tapestry. Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen.
  • Dedication Page with Blanche of Castile and King Louis IX of France and Scenes from the Apocalypse, from a Bible Moralisée. Gothic Europe. c. 1226-1234 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum).
  • Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpress.
  • Calling of Saint Matthew. Caravaggio. c. 1597-1601 C.E. Oil on canvas.
  • Ecstasy of Saint Teresa. Coronaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 C.E. Marble (sculpture); stucco and gilt bronze (chapel).
  • The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens.
  • Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle. Peter Paul Rubens. 1621-1625 C.E. Oil on canvas.

Learn more about Liberty Leading the People in the presentation below.

Learn more about the Oath of Horatii in the presentation below.

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