1946-1969 | Late Work

Dix's late work is based on liberation from art-historic eclecticism. In 1944/45, Dix "threw the Renaissance stuff overboard" and again turns to alla prima painting and intensification of expression. This "new way of seeing" is expressed in explosive productivity after a period as a prisoner of war (150 paintings and over 200 pastels until 1949). Dix develops a neo-Expressionist Verism with an explicit style and message. Christian iconography provides relevant symbols of guilt and atonement. His primary interest during the last two decades of his life remains self-portraiture as well as pictures with religious or agricultural themes, children and animals, still lifes and landscapes. After 1948, graphics become a confident means of expression. The extensive production of lithographs takes place primarily in Dresden (the former GDR). In the course of his constant crossing of borders - both physical and that of two official presentations of art - "I paint neither for one nor for the other. Sorry." (1963) - Dix becomes known as the leading example of a German-German artist.

Paintings Drawing Lithographs