The work examines the multifaceted relationship between violence, artistic production, and cultural memory from the nineteenth to the twenty-first century, emphasizing how aesthetic practices respond to historical ruptures and collective traumas. Drawing on philosophical, sociological, and psychoanalytic frameworks—including the contributions of Erich Fromm, Hannah Arendt, Judith Butler, and Yves Michaud—it situates violence not merely as a physical act but as a symbolic, ideological, and institutional force that shapes artistic expression. Through a historical–theoretical approach, the study traces how major social disruptions such as industrialization, world wars, totalitarian regimes, and the emergence of digital media transformed the visual language of art. Modernist movements including Futurism, Expressionism, Dadaism, New Objectivity, Fluxus, and various performance practices are analyzed as aesthetic responses to shifting forms of power, technological acceleration, and the normalization of violence in everyday life. Particular attention is given to artists whose work engages directly with trauma, corporeality, and political oppression—among them Otto Dix, George Grosz, Käthe Kollwitz, Chris Burden, and members of the Vienna Actionists—revealing how the body becomes a critical site of resistance, vulnerability, and memory. The book furthermore explores how contemporary wars and mediated violence reshape artistic representation, arguing that digital environments generate new modes of perception, spectatorship, and activism. Overall, the study contributes to art history and cultural theory by demonstrating how violence functions simultaneously as subject, method, and transformative aesthetic strategy, and by tracing the evolution of artistic languages that confront, expose, or subvert its material and symbolic operations.