While both “Kaiser Adolf” by John Heartfield and “HOPE” by Shepard Fairey are different in

their artistic executions, they nevertheless they share the same concept, elements and design
of art to express an importance for a political figure using different methods of art to express
that.

First, compositionally, both pieces share similarities with their lines. Both pieces lines and
shapes are closed and natural. Each piece’s shape only takes place from the top of the head to
about half of the protagonists torso. In “Kaiser Adolf” the protagonists posture and lines on the
arms are straight and give off the impression of firmness and discipline. Despite this, the tone
of the painting takes on a sarcastic and playful tone with Hitler's helmet becoming wild. The
diagonal and curved lines of the feathers give off the impression of movement as well it gives
off energy of chaos and craziness. In “HOPE” the protagonists posture and lines are diagonal.
This gives off the illusion of instability and the impression that the protagonist maybe leaning
as if looking off into the future looking for hope.

Compositionally both pieces share similarities with the execution of how their respective artists
use line and form. Both pieces use diagonal lines to help give off the impression of instability
within their protagonists. In “Hope” the instability can be seen in Obama’s posture while in
“Kaiser Hitler” it can be seen with Hitler’s helmet. This is a necessary tactic to create of
uneasiness within the viewer and to pay close attention to the details.

Beginning in 1956, the United States elaborated a plan of stability that Bolivia accepted in
January 1957 that would be sponsored by the International Monetary Fund (Klein, pg. 247).
This plan would push Bolivia to put into balance(ing) their plan to reconquer the instability of
the middle class and to reinforce the government’s plan of change (Klein, pg. 247). (It) This
plan would (also) offer the creation of a stable economy with an increase in inflation within the
span of two years (Klein, pg. 248). Within the timespan of 1952-57, the provision of total
currency increased from Bs. 11.3 billion to Bs. 382.3 billion (Zondag, pg.83). Left-wing political
parties initiated oppositions towards Hernan Siles Zuazo and his government (Klein, pg. 248).
In an attempt to recuperate lost monies, MNR required that all minerals would be produced in
advance and that they would be exported to the Banco Minero (Zondag, pg. 85). The Central
Bank (would eventually ) eventually had to print more money to finance the Mining
Corporations (Zondag, pg. 86). The price to succeed was placed at an all time high when the
United States had pushed Siles Zuazo to put into action this plan without causing any political
consequences (Klein, pg. 248). While the plan had been successful with Bolivia’s monetary
system becoming once again stable and the elimination of deficits, it would eventually lead
towards hostility between the US and Bolivia. (Klein, pg. 248) Spurred on by the early years of
the Cold War, the United States had begun to put even more pressure upon Bolivia and more
specifically Lechin to straighten out the left. (Mesa, pg. 248)

During his third term as president of the nation, Paz Estenssoro, in an attempt to advert
communist influences within the nation and to avoid counter military insurgence, allowed
North American troops to restructure and control the Bolivian military. (Mesa, pg.554) Already
seen as a mistake to take up a third term, by 1964 MNR had begun to collapse. (Mesa, pg.554)
Relationships between miners and the party had begun to deteriorate and the decision to
remove Paz Estenssoro from power came at the hands of the military. (Mesa, pg.555) Before
this was to take place, by January 1964, with the nation’s economy going through yet another
turmoil, Victor Paz Estenssoro gave a speech at the 9th Annual Delegation Convention held in
La Paz concerning his plans regarding the future of the nation while also reflecting upon the
revolution that took place just twelve years prior. At this conference, Paz Estenssoro promised
the “increase in farming and the expansion of the Bolivian market” and that he himself was
proud of “once again having our lands back (Paz Estenssoro, pg. 13, 19-20).” The “National
Plan for Economic and Social Development 1962/71” would promise to bring about these
hopes and desires Paz Estenssoro had for the nation. (CHECK)

Just three months after entering office, Paz Estenssoro was removed from office. (Mesa,
pg.555) The opposition had been spearheaded by vice-president Rene Barrientos while
militarily it was lead by Alfredo Ovando. (Mesa, pg.555) Hernán Siles Zuazo, Juan Lechín
Oquendo, and Walter Guevara Arze were active participants during the coup. (Mesa, pg.555)
This act was seen as the final blow that would destabilize the MNR from within, (Mesa, pg.555)
Resistance had begun in La Paz and from Oruro although these were scarce in terms of military
men and coordination. (Mesa, pg.555) On the Morning of November 4, 1964, Victor Paz
Estenssoro was finally removed from office and would spend the next six years in exile. (Mesa,
pg.555) The coup d'etat of 1964 came with it a restructuring of the political sphere within the
popular sectors and would pave the way for a government in favor of the military. (Mesa,
pg.557) The latter half of the 1960’s would see the exile of both Siles Zuazo and later Juan
Lechin and the Saint John Eve Massacre that took place on the night of June 23-24, 1967.
(Mesa, pg.558) Miners, in protest against their salaries and jobs, decided to gather together to
discuss the issues. (Mesa, pg.564) After two nights of festivities and celebration, military
squadrons opened fire on the camp. (Mesa, pg.564) With 27 casualties, the massacre would
have grave effects towards the concession of natural gas within the gulf. (CHECK WITH
MCCARTHY)
Secondly, space and balance is also equally important in both pieces for there is both positive
and negative spaces and asymmetrical balance. Positive is considered the protagonist while
negative would be the spaces around them. Both pieces put emphasis on the subject and this
is carried out in tangent with balance. Both pieces have their sense of balance with each
element, such as Adolf’s medals and uniform, can be seen as asymmetrical. This is more
prominent with Hitler’s hat. Were it not for these elements and the Nazi swastika the piece
would almost pass for symmetrical. Asymmetrical balance is also present in “HOPE” although
Barack’s left side is much more slanted than his right and thus gives off the impression of
instability.

However, while both paintings may have similarities between them, they also share their
differences within their colors. “Kaiser Adolf” uses black and white to represent a stark and
serious image that juxtaposes with Hitler’s helmet. The value of the image in general is of a
low value giving the effect of calmness and ease while its high intensity felt on the left side of
Hitler’s face, medals, shoulder pads and hat thus giving variety and breadth to the painting and
as well for putting emphasis on Hitler’s decorations as well as unity. This intensity is contrasted
on Hitler’s right side of his face giving as well a lower hue of black.

“HOPE” is a much vibrant and intense piece with the use of its colors, primarily using both
warm and cold colors which are red and blue respectively. The pieces lines not only extend to
the figures posture or stance but as well to the shadows visible on the face. Hot colors are
used on the protagonists right side of his face while blue and a hint of white are mixed
together in the left side. This is of course in order to give off a patriotic feel that is in line with
the American flag’s colors: red, white and blue. A darker blue is used on the suit jacket to
lower the intensity and give balance within the piece’s color and variety.

In terms of viewpoint, this is critical for the effectiveness of the theme of the artwork. Both
protagonists, while in “Kaiser” Adolf Hitler is looking directly at the viewer while Barack Obama
is looking upwards. Hitler looks straight into the camera as if he were looking into the viewer
and putting all of his attention on us and to give off a more military and stern look. Barack’s
eyes look up away from the viewer, giving the impression of searching for hope, thus the
significance of the lettering and concept of the piece.