Neue Sachlichkeit

Neue Sachlichkeit:

see new objectivitynew objectivity
(Ger. Neue Sachlichkeit), German art movement of the 1920s. The chief painters of the movement were George Grosz and Otto Dix, who were sometimes called verists.
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Neue Sachlichkeit

 

a current that arose in the 1920’s in German painting and graphic art. A reaction against the individualistic rebellion and formalistic extremism of expressionism, the Neue Sachlichkeit movement was related to another European artistic movement of the same period, neoclassicism. Its general principles were similar to those of Italian metaphysical painting and French neo-Ingresism.

The members of the Neue Sachlichkeit sought to counteract the ideological chaos of bourgeois society and the hectic pace of modern life by creating models of a crystal clear, mystical, would-be world. By depicting such an artificial world with the utmost clarity and detail, some of the artists, including A. Kanoldt, C. Mense, and G. Schrimpf, unwittingly expressed the alienation of the individual from a cold, mechanized reality. Other members of the Neue Sachlichkeit, using exaggerated forms of artistic expression, imparted to their works a grotesque quality and deliberate social criticism. Such socially critical works were produced by Otto Dix and G. Grosz.

REFERENCES

Reingardt, L. “Novaia veshchestvennost’ i ridzhionalizm.” In the collection Modernizm … [2nd ed.]. Moscow, 1973. Pages 208–16.
Roh, F. Nach-Expressionismus. Leipzig, 1925.
Schmied, W. Neue Sachlichkeit und magischer Realismus in Deutschland: 1918–1933. Hannover, 1969.
References in periodicals archive ?
The images are almost entirely figurative and stylistically diverse, reflecting principles of Neue Sachlichkeit (New Objectivity) and Surrealism, but also reaching back to Romanticism and sometimes even farther back to vanitas still lifes with flowers, figurines, and pinned butterflies.
Neue Sachlichkeit was framed in this way by its earliest proponents, Gustav Friedrich Hartlaub, who staged the first show on the subject, "Neue Sachlichkeit: Deutsche Malerei seit dem Expressionismus" (New Objectivity: German Painting Since Expressionism), at the Kunsthalle Mannheim in 1925, and Franz Roh, who published the first study, Nach-Expressionismus: Magischer Realismus; Probleme der neuesten europaischen Malerei (Post-Expressionism: Magic Realism; Problems of the Newest European Painting), in that same year.
Jahrhunderts (Hombres del siglo XX), de August Sander, y a la obra de Erna Lendvai-Dircksen, ambos representantes de la tradicion fotografica de la Neue Sachlichkeit (Nueva Objetividad) de los anos veinte y treinta.
The contributors of these fifteen essays enter into the discourse on modernity, challenging the autonomous realm of literature, engaging in the international and intermedia dimension of neue sachlichkeit (for example, in Dutch modern architecture), and judging neue sachlichkeit and the avant garde (for example, in the work of Nikolai Zagrekokov).
32-41), and that the Neue Sachlichkeit movement stressed objectivism in design (pp.
Wilfried Wilms provides a fascinating interpretation of early Bergfilme, firmly contextualizing them in the collective trauma of World War I and tracing their strategies of recuperation as conflicted and contradictory attempts to develop "an affectively stable and functional ego," a kind of "cool conduct" akin to the aesthetics of Neue Sachlichkeit.
By the 1930s the trend to Neue Sachlichkeit ('New Objectivity') was reflected in characteristics of the architecture: design was to reflect function and mere decoration was out.
On the long Yrjo-Koskinens gata side, scale is established by dissecting what could have been a dull expressionless Neue Sachlichkeit facade with vertical glass strips, which contrast with the more conventional office fenestration and give a gentler scale to the elevation.
To this end, the increasing importance of the influence of Neue Sachlichkeit on art and popular culture will first be discussed to reveal their interconnectivity with the development of sport as a significant cultural force in the Weimar period.
Much of this representational art has been grouped together under the blanket term Neue Sachlichkeit (most commonly translated as The New Objectivity), coined by the art critic and director Gustav Hartlaub for the 1925 exhibition bearing that name.
1) The post-war revival generation turned rather to material that seemed free of Nazi ideology-particularly the revolutionary song material of the 1848 revolution and protest songs from the 1920s Neue Sachlichkeit.
Brittnacher's assessment of the under-researched and underrated Berlin poetry published by Mascha Kaleko in the late Weimar Republic, which can be compared to the satirical poetry of the 'Alltag' popularized by male contemporaries such as Erich Kastner and Walter Mehring and which belongs to the Neue Sachlichkeit in its simplicity of form and conscious accessibility, is illuminating.