Hermann otto hoyer biography of mahatma

Differences in era of execution, subject matter, and medium notwithstanding, the Hoyer and Rembrandt compositions share a few important traits. Both depict a central figure, who is in the act of addressing others who listen closely to that figure. Rembrandt has placed his scene in a shadowy inner courtyard, where the humble figures sit on the ground or on any available stony surface.

However, it is words that are the focus of both works: words as catalyst, balm, words as both containers and conveyors of truth, and words as definers of the subjects who utter them.

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They are hearing the first words Hitler spoke that grew into the torrent of words that ensnared an entire nation. Christ is praying his orans posture while preaching; the listeners are seeing the Word while hearing it. The question then before us is: what effect do the words have on these listeners? What can these silent pictures instruct us about words and speech, particularly in a time of contentious human communication?

With every eye fixed upon him, Hitler is clearly engaging and probably convincing his small audience of the rightness of his ideas. If we are to reflect on the nature and use of words by secular and faith leaders, In the Beginning Was the Word and Christ Preaching stand as compelling iconographic examples and aids for understanding these components of leadership.

Whether in words or in print, Hitler and his Third Reich could determine who lived or died, and, for a time, scores of followers ate the fruits of that devastating power. The horrific scenes on January 6 that seemed to gush from our television and computer screens began their existence as hate-inspired words planted in the hearts of individuals, who not only gave their assent to hatred, but chose to act on it violently.

The words that moved the mobs to rampage and to destroy were not with God and were not God, but instead appeared driven by demonic and nihilistic forces.

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The words we use and the words we hear are consequential. Hoyer and Rembrandt showed us that. Their works are only silent pictures, but they speak loudly. Will we listen? Pamela A. She writes on topics of faith. Free Newsletters.

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Many of the works were reproduced in postcards. At the end of the war he was arrested and detained until Most of his paintings were confiscated by the Allied forces. Hermann Otto Hoyer was born 25 January a Brema. He studied and worked as a painter on glass in Metz, Nancy and Basilea. In the First World War at the Battle of the Marne was wounded by a piece of shrapnel and was taken prisoner and locked up, as recounted later, "Rat in a cage in Britain".

After two attempts to escape unfortunate was brought to the "concentration camp for refugees" of Graiba in Tunisia which provided 14 hours a day of work and only one round of cleaning staff each 60 days. On his third attempt to escape was captured just before the front of Tripoli and buried for 60 days in a cage by the shape of the tent without moving.

The next stage of his military detention ordeal was Emzarir where raging typhus and malaria.

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The prison camp was then moved to Marseille. From there he escaped with a friend, who was killed by a bullet during the flight, while Hoyer reached Switzerland with his right arm badly injured and fractured. He learned with great difficulty working with the left hand and the to the attended the Art Academy in Monaco with Hermann Groeber favorite pupil of Franz von Stuck and Carl von Marr.

German artist Hoyer depicted a quasi-messianic Hitler mesmerizing an audience with his oratory in the s. Erler painted him in the classic SA uniform with cap in hand, before the mighty monument of a naked sword-bearer with a falcon in his open palm. Knirr's Hitler wears a topcoat against the background of a verdant forest the neo-Romanticists were won't to invoke; Hitler is adorned by a swastika armband and his World War I Iron Cross, and he looks most statesmanlike and less threatening.

Another picture of that venue which Hitler had insisted be shown became a veritable cornerstone of Hitler's iconography, a painting entitled In the Beginning was the Word by Hermann Otto Hoyer.