Depictions of violence have been the subject of considerable controversy and debate for centuries. In particular, violence has appeared in both high culture and film.
History in art
15th century to 17th century
Politics of House of Medici and Florence dominate art depicted in Piazza della Signoria, making references to first three Florentine dukes. Besides aesthetical depiction of violence these sculptures are noted for weaving through a political narrative. The artist Hieronymus Bosch, from the 15th and 16th centuries, used images of demons, half-human animals and machines to evoke fear and confusion to portray the evil of man. The 16th-century artist Pieter Brueghel the Elder depicted "...the nightmarish imagery that reflect, if in an extreme fashion, popular dread of the Apocalypse and Hell".
18th century onwards In the mid-18th century, Giovanni Battista Piranesi, an Italian etcher, archaeologist, and architect active from 1740, did etchings of imaginary prisons that depicted people "stretched on racks or trapped like rats in maze-like dungeons", an "aestheticization of violence and suffering". In 1849, as revolutions raged in European streets and authorities were putting down protests and consolidating state powers, composer Richard Wagner wrote: "I have an enormous desire to practice a little artistic terrorism." Laurent Tailhade is reputed to have stated, after Auguste Vaillant bombed the Chamber of Deputies in 1893: "Qu'importent les victimes, si le geste est beau? [What do the victims matter, so long as the gesture is beautiful]?" In 1929 André Breton's Second Manifesto on surrealist art stated that "L'acte surréaliste le plus simple consiste, revolvers aux poings, à descendre dans la rue et à tirer au hasard, tant qu'on peut, dans la foule" [The simplest Surrealist act consists of running down into the street, pistols in hand, and firing blindly, as fast as you can pull the trigger, into the crowd]."
In high culture High culture forms such as fine art and literature have aestheticized violence into a form of autonomous art. This concept of an aesthetic element of murder has a long history; in the 19th century, Thomas de Quincey wrote,
Everything in this world has two handles. Murder, for instance, may be laid hold of by its moral handle... and that, I confess, is its weak side; or it may also be treated aesthetically, as the Germans call it—that is, in relation to good taste. In his 1991 study of romantic literature, University of Georgia literature professor Joel Black stated that "(if) any human act evokes the aesthetic experience of the sublime, certainly it is the act of murder". Black notes that "...if murder can be experienced aesthetically, the murderer can in turn be regarded as a kind of artist—a performance artist or anti-artist whose specialty is not creation but destruction."
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