Goering 1943

Editor: This is “Goering,” a watercolor painting from 1943 by the collective Kukryniksy, currently held at the Tretyakov Gallery. The caricature makes a point of Goering’s physical size. It’s also incredibly unsettling, what can you tell me about it? Curator: Let us observe. The watercolor medium, typically associated with lightness and transparency, here serves a satirical purpose. Consider how the artists employ the fluidity of watercolor to amplify the corpulence of the figure. Do you see how the dripping paint, particularly around the helmet, undermines any sense of authority or strength one might expect from a military figure? Editor: I do. It seems to be accentuating the horror. And there are skulls all over his chest! Curator: Precisely. The juxtaposition of symbols is crucial. We have the Iron Cross—a military decoration—alongside what appear to be skulls. The painting plays on visual oppositions of “decoration” and what that decoration signifies. Moreover, notice how the eyes are focused towards something the viewer cannot see. What does this formal device accomplish? Editor: Maybe it shows Goering is not interested in the world around him? That the work does not want to communicate anything directly to the viewer. Curator: An interesting proposal! Reflect upon the broader context. As a caricature created during the war, this image relies on exaggeration and distortion, yet it adheres to certain visual strategies, manipulating line, form, and color for specific expressive ends. How then does it subvert those traditions? Editor: This exercise has definitely highlighted the way choices about the medium contribute to the overall meaning, and how even caricature relies on some established techniques. Thanks! Curator: Indeed, examining the formal properties reveals much about the artists' intentions and the power of visual language.