Weimar republic art: 3D Gallery

By the big pee dee

This art was made by Helen Hyde. She was introduced to the Japanese aesthetic that would define her mature style occurred during her travels through Europe between 1890 and 1894. She visited Germany, Holland, and England, but spent the majority of her time in Paris. As the city’s most prestigious academy did not accept female students, Hyde pursued private instruction from prominent teachers.Settling in San Francisco, Hyde explored her craft, sketching children in nearby Chinatown and acquiring rudimentary knowledge of color etching. It was during this period that Hyde earned the endorsement of the Ashcan painter William Macbeth who sold her work in his New York gallery. She also enjoyed success as a book illustrator.

Skat Players (Card-Playing War Cripples) (1920)

Showing both his Dadaist and Cubist influences, Dix makes a clear social statement using his bold technique in this painting. The skat players are war veterans horribly disfigured and crippled by their service, yet they are still able to play cards. Skat was a card game favored by Krupps, the German manufacturers of weapons. Dix uses the repetition of the cards, the chair legs, and the stumped limbs of the men to build a composition that is disturbing in form as well as content

Otto Dix Portrait of the Lawyer Dr. Fritz Glaser (1921)

This picture of the lawyer Dr. Fritz Glaser is typical of Dix's portraiture from the early 1920s, in which he depicted his friends from the professional classes - doctors, lawyers and other notables who were also interested in the arts. picture is also typical of the contradictions in Dix's life and work - contradictions between the good relations he had with many of Dresden's bourgeoisie, and the icy, critical tone with which his art remembered them.

Portrait of the Journalist Sylvia von Harden (1926)

As a character of her time just as the woman herself, this image of Sylvia von Harden became iconic of the era. This portrait is perhaps Dix's most recognized. It was even referenced in the 1972 film Cabaret, set in Weimar-era Berlin. It is said that Dix painted this portrait after seeing von Harden in the street and exclaiming, "I must paint you, I simply must! You represent an entire epoch." She was amused. "So you want to paint my lackluster eyes, my ornate ears, my long nose, my thin lips. You want to paint my short legs, my big feet -- things that can only frighten people and delight no one?" Dix claimed that she was a perfect image for a society that was less concerned about a woman's outward appearance than her psychological state.

Daum Marries Her Pedantic Automaton "George" in May 1920. John Heartfield is very glad of it. (1920)

Nicknamed Maud (the anagram of "Daum") by Grosz, her character appears hesitant, even afraid, despite her seductive state of undress. Grosz is depicted as a robot, a central Dadaist motif that redefined the artist as machine.

Seven Deadly Sins (1933)

In response to the Nazis' dismissing him from his teaching post at the Berlin Academy, Dix created this surreal satire on German politics. The figure of Sloth, depicted in the center, is a skeleton whose outstretched arms and scythe form a sort of swastika. Dix felt that this sloth or lack of concern and unwillingness to take early action by the German people had allowed Hitler's rise to power. The most poignant aspect of this picture is the representation of Envy, riding on the back of Avarice: he wears a Hitler mask. However, it wasn't until after the war that Dix painted in the telltale mustache.In response to the Nazis' dismissing him from his teaching post at the Berlin Academy, Dix created this surreal satire on German politics.

Germany: A Winter's Tale (c. 1917)

Germany: A Winter's Tale, is close in style and composition to A Funeral: Tribute to Oskar Panizza(1917-18), which was created in the same time period. Both reference the shattered space of Cubism and the motion of Futurism. Grosz utilizes allegory throughout in order to maximize the impact of each figure and object within the tumultuous space of the painting. In the center, a man representative of the bourgeoisie readies himself to consume a meal, while a riot of bodies swirls around his head. The three figures at the bottom represent the church, state, and school, all of which spoon-feed their ideals to the receptive man. Those in control studiously ignore the resulting chaos, represented by figures such as the sailor, who Grosz declared to be a symbol of revolution.

Self Portrait with Palette before Red Curtain (1942)

Dix created many self-portraits throughout his lifetime. His maturity as an artist and a man can be chronicled in these reflective and intense studies of his own image. In this scene, he is fully facing the viewer, while in other portraits he is in profile. He is engaged in the act of painting, presumably the portrait itself. The dark and ominous view of the Alps can be seen out the window in the distance.

The Faith Healers (1916-17)

This work, also known by the title Fit for Active Service, depicts a doctor inspecting a skeleton with an ear trumpet, pronouncing him "KV" (short for kriegsverwendungsfahig, or "fit for combat"). Unconcerned with the diagnosis, the surrounding officers appear either bored or absorbed in other matters. The scene refers to the desperate recall of discharged soldiers toward the end of war, after the German forces suffered heavy losses. Grosz himself had been forced to return to the front in 1917, only to be released four months later for mental illness, lending the subject a great deal of personal significance.

A Funeral: Tribute to Oskar Panizza (c. 1917-18)

Dedicated to the writer and psychiatrist Oskar Panizza, who was known for his witty criticisms against the state, A Funeral is a statement of Grosz's feelings of disgust and frustration toward German society during the tumult that followed World War I. The chaotic procession of distorted figures, painted in shades of dark red and black, seems to take place in a hellish chasm between precariously slanted buildings. The dense, collage-like technique, which draws from Cubism and Futurism, adds to the sense of claustrophobia by layering multiple scenes in a shallow space.

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Weimar republic art