Similar To Margarethe Sulamit Analysis

"I believe art has to take responsibility but it should not give up being art" Anselm Kiefer, a German painter and sculptor, quoted. The artist was born on March 8, 1945 in Donaueschingen, Germany. His father was an art teacher himself, which influenced Anselm's love for art. He grew up surrounded by darkness and nature, one of the key influencer on his art, however, his surroundings were not the only thing that drove his artistic paintings and sculptures in that direction, it was the gruesome Holocaust. Because of the influence of that horrific event, his creations began to evolve into dark and demonic art pieces. It was as if he wanted to recreate the horrid result of the holocaust he endured during his childhood. His paintings “grew from

This is not as complex as Margarethe but has some key differences. In this painting Anselm forces your eyes to come back to the large circular room in the far back; if you look closely you can see the outlines of flames, which indicates that it is a gas chamber. On top of the bricked arcs looks like smook that has been trapped in there forever. The way the painting was painted, meaning the symmetry, it indicates that the room is hollow, and that the pillars have volume. In the far back, the fire creates dark smoke that most likely represents the trapped souls of those who have died in that room. The ash color, to be specific, in Sulamit represents the “ashes of the victims in the furnace”. Similar to Margarethe, this painting also has psychological and historical analytical points. Psychological because this painting is the response of a poem based off of the Holocaust; which Anselm's work feeds on. Historical is also a key analytical point because the entire painting is based upon World War II, due to Paul Celan being one of the captured Jews. After reading this poem created by the Holocaust Survivor Paul Celan, Anselm reacted by producing the two paintings, both still dark and historical. Although Kiefer had no relationship with the Holocaust, he felt the guilt as though he caused it. He believed that “the lack of discussion of WWII in school became a creative wellspring for him”,

However, one difference includes that the airplane is a symbol of World War II, unlike the woman who is an angel, he uses the airplane to represent a “transcendence of a spiritual object from heaven to earth”. The 65 3/4 in. by 174 in. by 126 in plane is made mostly of lead but has glass, steel, and ash incorporated into it. The sculpture indicated that it caries volume due to its spherical/ cone middle part. Both wings on each side seem to have empty missile launchers; on the left side of the plane there is a The poisonous, spiritual plane definitely has some historical and physiological analytical points. Due to the fact that he represented an identical plane from World War II and not an angel to come from the heavens to Earth proves that psychological points played a role. Also the fact that he used lead instead of any other pure material proves that this was his twisted, dangerous, and deadly way of showing the ‘angles’ ascendance. Historical because of how Anselm tied the Holocaust in with the lead