New Objectivity. New Objectivity was a movement in German art that emerged as a distinct reaction to the emotional intensity of earlier movements like Expressionism, prioritizing a clearer, more realistic representation of subjects.
This shift resulted in paintings that often featured detailed, objective depictions, starkly contrasting with the abstract and emotive styles that preceded them. In relation to current political events, particularly the disillusionment following World War I, New Objectivity artists often infused their work with social commentary, reflecting the tensions and anxieties of a rapidly changing society.
This focus on realism and the human condition laid the groundwork for later movements, influencing styles such as Photorealism and Contemporary Realism, which similarly emphasize detail and clarity while often engaging with modern themes and societal issues. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit.
As these artists, who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen, rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejectio
This shift resulted in paintings that often featured detailed, objective depictions, starkly contrasting with the abstract and emotive styles that preceded them. In relation to current political events, particularly the disillusionment following World War I, New Objectivity artists often infused their work with social commentary, reflecting the tensions and anxieties of a rapidly changing society.
This focus on realism and the human condition laid the groundwork for later movements, influencing styles such as Photorealism and Contemporary Realism, which similarly emphasize detail and clarity while often engaging with modern themes and societal issues. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit.
As these artists, who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen, rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejectio
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