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 ?
Vallotton's work has been compared to the New Objectivity movement in Weimar Germany, to the paintings of Edward Hopper and to the films of Alfred Hitchcock.
In the style of the New Objectivity movement which emerged as a reaction against expressionism, Sander built a collection of what would become iconic portraits of the 20th century: beggars, workers, farmers, artists, civil servants, politicians, clergymen.
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.
Around 1920, a new movement appeared, which became known as the Neue Sachlichkeit (New Objectivity).
Beginning in the 1920s, Sander compiled a vast photographic atlas of human beings at work--a project that would be characterized as embodying a "new objectivity." The photographs of "Sulle Langhe" indicate a rejection of Henri Cartier-Bresson's journalistic aesthetic, which hinges on a decisive and unrepeatable moment and on the rhetorical emphasis of the image.
This study analyzes avant-garde photomontage art created by German artists in the 1920s and 1930s associated with the Dada, Constructivism, and New Objectivity movements.
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.
Amongst the most debated of topics in the salons of Europe is the "neue sachlichkeit" ("new objectivity"), a term used to describe public life as well as the art, literature, music, and architecture created to adapt to it.
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).
Artistic expressions include works representing the art movement Neue Sachlichkeit (New Objectivity), such as those by Germany's Max Beckmann and Otto Dix, as well as social realist Irishman William Orpen.