This is an artwork done in the Dada style. This artistic movement was characterized by the anarchy, born out of disgust for the social, political, and cultural values of the time period.
Between World and Earth: The Metaphysics of Weimar Berlin as .
German painter, draughtsman and illustrator.
Dada, George Grosz, "Germany,A Winter's Tale," 1918
Albert Birkle, “The Acrobat Schulz V” (1921)
The Weimar magic realists returned again and again to the circus as a theme, never with more striking results than in Birkle’s portraits of Schultz, capturing the extravagant facial expressions for which the performer was renowned. That comical hyperbole is poles apart from Birkle’s crucifixion scene, inspired by Matthias Grunewald’s medieval Isenheim Altarpiece, and riven with a visceral agony which evokes the memory of the trenches.
A Winter's Tale - George Grosz
This is an artwork done in the Dada style. This artistic movement was characterized by the anarchy, born out of disgust for the social, political, and cultural values of the time period.
Between World and Earth: The Metaphysics of Weimar Berlin as .
German painter, draughtsman and illustrator.
Dada, George Grosz, "Germany,A Winter's Tale," 1918
Weimar artist Otto Dix’s 1923 painting The Trench
The lingering effects of World War I had an obvious impact on Weimar era art. The work of Otto Dix is particularly worthy of attention. A former soldier who served almost the entire duration of the war, Dix was haunted by his wartime experiences, to the point of mental breakdown. He moved to Dresden, one of Germany’s leading artistic cities, where he was influenced by the expressionists, the Dada movement and other modernist schools. In the early 1920s, Dix began work on a series of paintings depicting the war. He utilised dark tones and grotesque detail, showing injured soldiers, decomposing bodies and skeletons to depict the horrors of mechanised warfare. Probably the best known of these pieces is The Trench(1923)
A Winter's Tale
This is an artwork done in the Dada style. This artistic movement was characterized by the anarchy, born out of disgust for the social, political, and cultural values of the time period.
Between World and Earth: The Metaphysics of Weimar Berlin as .
German painter, draughtsman and illustrator.
Dada, George Grosz, "Germany,A Winter's Tale," 1918
Rudolf Schlichter, “The Artist with Two Hanged Women” (1924) Schlichter’s painting is as disturbing as anything in the whole show. It reflects both the Weimar obsession with “lust murder”, wherein women are the fetishised objects of sexual violence, and the high suicide rate of 1920s Germany, but offers nothing by way of context. The aghast expression of the painter himself (a hollow sketch, set against the fully realised dead women) mirrors the viewer’s own.
1920’s Weimar Republic of Germany artists | 1920, Otto Dix
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WEIMAR REPUBLIC AND THE UNCANNY “SECOND SIGHT”
Expressionist art offers examples of the uncanny "second sight": Beckmann pictures the Frankfurt synagogue in 1919 with its wall slanting as if they might topple at any moment.“A member asked what was the ethos of German Expressionism, suggesting it was ‘cultural despair’. The speaker reiterated his title phrase: ‘an explosive cocktail of cultural despair and political instability’, adding that the German character seemed almost morbid in its realistic attitude to the tragedy and horrors of war, in deep contrast to the romantic evasive approach of some of the English WWI artists… Quoting from Kandinsky’s On the Spiritual in Art, ‘When Religion, Science and Morality are shaken,by the mighty hand of Nietzsche, When the external support threatens to collapse then mans gaze turns away from the external towards himself.’
Ophelia
Germany, A Winter's Tale, 1918 // painting by Georg Grosz (1893-1959)
The Music Lesson
The Music Lesson or Lady at the Virginals with a Gentleman by Jan Vermeer, is a painting of young female pupil receiving the titular music lesson. [more]