Otto Dix and the new objectivity
著者
書誌事項
Otto Dix and the new objectivity
Hatje Cantz, c2012
- : hbk
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Exhibition catalogue
Published on the occasion of the exhibition, "Das Auge der Welt. Otto Dix und die Neue Sachlichkeit", held at Kunstmuseum Stuttgart, Stuttgart, Nov. 10, 2012 - April 7, 2013
includes bibliographical references (p. 252-254)
内容説明・目次
内容説明
"The Neue Sachlichkeit: I invented it." Thus Otto Dix (1891-1969), looking back with characteristic directness, chose to rewrite the development of the art movement that can be considered the "third path"--alongside Abstraction and Expressionism--taken by progressive artists in the modern era. Situated somewhere between the grotesque and the classical, Dix's harsh, unrelenting realism produced some of the most horrific depictions of the First World War, and some of the most critical portrayals of the Weimar Republic. Published to coincide with an exhibition at the Kunstmuseum in Stuttgart, Otto Dix and New Objectivity is the first publication to fully illuminate the Neue Sachlichkeit against the backdrop of the Weimar Republic and National Socialism. The exhibition brings together around 120 works to investigate what characterizes the New Objectivity and how variously the term has been used and interpreted since the 1920s. Some of Dix's key works--including the "Metropolis" triptych (1928-29), the great psychological portraits and the landscapes with their hidden symbolism painted during the years Dix spent at Lake Constance--form the departure point for this exploration of his oeuvre. They are placed in context alongside the works of George Grosz, Franz Lenk, Werner Peiner, Franz Radziwill, Christian Schad, Rudolf Schlichter and Georg Scholz, creating a new perspective on this crucial chapter in German art history and illuminating these artists' various reactions to the National Socialist aesthetic and art policy.
「Nielsen BookData」 より