News Art Blog

This past weekend people gathered in the nation’s capitol to mark the 50^th anniversary of Dr. Martin Luther King, Jr.’s “I Have a Dream” speech that was part of the March on Washington for Jobs and Freedom in 1963. Of the ten people who spoke on that day, only one remains—Congressman John Lewis. Congressman Lewis stood at the podium on the steps of the Lincoln Memorial last Saturday and delivered a speech not only reminding us of the past, but also calling on us to continue to march into the future towards a more tolerant, more united America. For John Lewis, the march goes on. In March: Book One, co-written by Congressman Lewis and Andrew Aydin and illustrated by Nate Powell, the life and ideas of Congressman Lewis come powerfully alive in words and pictures for a whole new generation. Like Dr. King, Congressman Lewis knows how to preach, and March: Book One is an unforgettable sermon. Please come over to Picture This at Big Think to read more of "John Lewis and Civil Rights March on in a NewGraphic Novel."




[Many thanks to Top Shelf Productionsfor the image above from and a review copy of March: Book One, by John Lewis, Andrew Aydin, and Nate Powell.]

You can’t pick your fans. If you could, nobody would pick Adolf Hitler. The frustrated painter turned Führer and genocidistenjoyed any art that embodied in some form for him the “blood and soil” values of German racial superiority rooted in close ties between the people and the land. Canonical German artists such as Albrect Durer, Lucas Cranach the Elder, and Johannes Vermeer(Dutch being close enough to Deutsche) met with Hitler’s approval, but among more modern artists, the Nazis deemed them mostly “Degenerate Art.” Among a few more modern yet traditional German artists, painter Hans Thoma, perhaps the most popular painter among the German people at the turn of the 20^thcentury, suited Hitler’s taste, too.  Hans Thoma: “The German People’s Favorite Painter,” which runs through September 29, 2013 at the Städel Museum in Frankfurt, Germany, aims to wash away any stains of guilt by association and restore while reevaluating Thoma’s place in German and general art history. The Thoma show exemplifies not only the writing and rewriting of art history specifically, but also serves as a telling microcosm of Germany’s overall struggle with its tragic past. Please come over to Picture This at Big Think to read more of "Hans Thoma: Hitler’s Favorite Artist?"