1924-1933 | New Objectivity (Neue Sachlichkeit)

In the year 1924 a shift of paradigms takes place. In adopting the glazing techniques and neutral succinctness of line of the Old Masters, the expressive Verism shows an affirmative tendency. Dix becomes a master of New Objectivity, the style of the stabilized Weimar Republic. But he never expresses his reserved "yes" to society without a sense of the grotesque. In Berlin starting in the fall of 1925, and again after 1927 in Dresden as a professor in the Academy of Art, he succeeds in his efforts to become a leading figure in contemporary art. His primary works are now created exclusively as paintings. Dix makes his mark above all as a portrayer of the Bohemian and intellectual scene in Weimar. Between 1927 and 1932 he devotes two triptychs with complex iconography to the central themes of war and metropolis. His drawings, however, remain tied to the individual phenomena of reality. Toward the end of the 1920's, searching for a genuine German art, Dix devotes himself increasingly to the study of the Renaissance and the early 19th century. For him, the "new in painting" is "an intensification of forms of expression that already existed in essence with the Old Masters. For me, the object remains primary and form is shaped by it." (1927)

Paintings Watercolours Drawing