new objectivity


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new objectivity

(Ger. Neue Sachlichkeit), German art movement of the 1920s. The chief painters of the movement were George GroszGrosz, George
, 1893–1959, German-American caricaturist, draughtsman, and painter, b. Berlin. Before and during World War I he contributed drawings on proletarian themes to Illustration and other German periodicals. He was associated with the Dada group at that time.
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 and Otto DixDix, Otto,
1891–1969, German painter and draftsman. Dix fought in World War I and returned to Düsseldorf haunted by the horrors he had witnessed. In 1924 he published War, a series of 50 etchings, horrifying visions of war's victims executed with great clarity.
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, who were sometimes called verists. They created styles of bitter realism and protest that mirrored the disillusionment and political upheaval that followed World War I. New objectivity retained the intense emotionality of earlier movements in German art (see BrückeBrücke, Die
[Ger.,=the bridge], German expressionist art movement, lasting from 1905 to 1913. Influenced by the art of Jugendstil (the German equivalent of art nouveau), Van Gogh, and the primitive sculpture of Africa and the South Seas, the Brücke
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 and Blaue ReiterBlaue Reiter, der
[Ger.,=the blue rider], German expressionist art movement, lasting from 1911 to 1914. It took its name from a painting by Kandinsky, Le cavalier bleu.
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), but it abandoned the symbolism of expressionismexpressionism,
term used to describe works of art and literature in which the representation of reality is distorted to communicate an inner vision. The expressionist transforms nature rather than imitates it.
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 for direct social commentary. Max BeckmannBeckmann, Max
, 1884–1950, German painter. A member of the Berlin secession from 1908 to 1911, he was impressionistic in his early style. A subsequent expressionistic phase was altered c.1917 by the savage new objectivity of George Grosz.
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 produced works in a related, though more philosophical, vein.

Bibliography

See S. Barron and S. Eckmann, New Objectivity (museum catalog, 2015).

References in periodicals archive ?
In sum, the avant-garde in Spain embraces a wide variety of creators, from writers and painters to architects, dancers and filmmakers, whose works exhibit traces of Dadaism, futurism, surrealism, new classicism, romanticism, or new objectivity, among others.
Experts say the seemingly scientific style of the work was influenced by Germany's pre-war New Objectivity movement, which espoused a return to "straight" aesthetics focused on unsentimental reality and rejected the artistic excesses of expressionism.
She "framed photography as an awakening of sight, not unlike what she would come to know of New Vision and New Objectivity," writes Rachel Epp Buller in reviewing a catalogue of Besnyo's work.
The 100 miniature chairs present a summary of the history of industrial furniture design -- from historicism and art nouveau to the new objectivity of Bauhaus and radical design, and from postmodernism to the present day.
The first situates Dix as an Expressionist, the second as a practitioner of the New Objectivity (Neue Sachlichkeit).
Transparency is the new objectivity," Schulte said.
In those realms, transparency is the new objectivity.
Barndt insists on the importance of this subgenre (which contemporaries in England referred to as the "New Woman novel") as against the purely masculine in the prototypical figures of New Objectivity.
It is worth remembering the historical context in which they were composed, and so to notice the fading influences of Impressionism and the new objectivity, Nee-classicism and Nee-Baroque and the recasting of these trends in the works of two contemporaries (there was only one year's difference in age between Malipiero and Casella), and to see how they fit in beside Stravinsky, Hindemith, Martinu and others.
But Marr the historian seems to have acquired a new objectivity, and the last two programmes in particular would not necessarily have made comfortable viewing for Mr Blair.
Schad was the most interesting of the artists involved with the Neue Sachlichkeit, or New Objectivity, movement, a loosely connected group that included, among others, Otto Dix, George Grosz, Rudolf Schlichter, Karl Hubbuch, and Georg Scholz--painters who worked mostly in Berlin between the First and Second World Wars, during the Weimar Republic; artists who managed simultaneously to savage and celebrate the manners and morals of their time.
But Gwynn MacDonald's clean staging clarifies the action, and a focused cast lets it be known that innovative work is being done here by artists working in the modernist spirit of the None Sachlichkeit--the New Objectivity, according to dramaturg's notes.