Subscribe
Search
ePaper
Newsletters
Subscribe
ePaper
Newsletters
Art market
Museums & heritage
Exhibitions
Books
Podcasts
Columns
Technology
Adventures with Van Gogh
Art market
Museums & heritage
Exhibitions
Books
Podcasts
Columns
Technology
Adventures with Van Gogh
Search
Exhibitions
preview

Neue Galerie in New York examines the New Objectivity movement that emerged in 1920s Germany

The show will contrast the approach of the so-called Verists, such as George Grosz and Otto Dix, with the Classicists, such as Eberhard Viegener

J.S. Marcus
30 January 2025
Share
Femme fatale: Otto Dix’s Reclining Woman on a Leopard Skin (1927) © 2025 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; courtesy of the Johnson Museum

Femme fatale: Otto Dix’s Reclining Woman on a Leopard Skin (1927) © 2025 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; courtesy of the Johnson Museum

For a handful of years, starting in the mid 1920s, Germany’s doomed Weimar Republic had a period of stability. And that stability is associated with a loose, broad and various movement in the visual and applied arts that quickly became known as the Neue Sachlichkeit (New Objectivity).

The movement had a launching pad in 1925, in the city of Mannheim, when the curator Gustav Friedrich Hartlaub invoked the term in an exhibition of contemporary German art, featuring figures as diverse as Max Beckmann, George Grosz, Otto Dix and Alexander Kanoldt. This month, the Neue Galerie New York is commemorating the Kunsthalle Mannheim exhibition with Neue Sachlichkeit / New Objectivity, a group show of around 140 works made in the interwar period.

In 1925 Hartlaub distinguished between the hard-edged “Verists,” such as Grosz and Dix, who were concerned with what the curator regarded as “the world of contemporary facts”; and the “Classicists,” whose interest was a “timeless” concern for harmony and beauty. What they had in common, suggests Olaf Peters, the curator of the New York show, was a break with the immediate past—with the Germany of the Kaiser, militarism and Expressionism.

Eberhard Viegener’s Still-Life with Bananas and Cactus (1927) Photo: José Castillo-Pazos

These days, the Verists have come out ahead, with their harsh, often hilarious outrage now conjuring up the art of the era for a wide swath of the museum-going public. Grosz and Dix are included in the Neue Galerie show, with New York’s Museum of Modern Art (MoMA) loaning its 1926 Dix portrait Dr. Mayer-Hermann.

The show will explore the impact of the Bauhaus, formed as an interdisciplinary art school in 1919. By the time of the 1925 Mannheim show, it had become a hothouse of cultural and social experimentation, as seen in Bauhaus Stairway (1932) by Oskar Schlemmer, which depicts students looking like a new species of human being.

The Classicist works may be a big surprise for many. With its clean lines and electric palette, Eberhard Viegener’s Still-Life with Bananas and Cactus (1927) feels a world away from the sardonic and dingy hellscapes of Dix and Grosz, while Jacquard Weaving Mill, a 1934 factory painting by Carl Grossberg, which might seem to combine elements of both Verism and Classicism, looks ahead to the Nazi period’s celebration of German industry.

Carl Grossberg's Jacquard Weaving Mill (1934) Merrill C. Berman Collection

Photography plays a key role in the show, and the Neue Galerie has found a mysterious, transitional image in a 1933 work by Yva (aka the photographer Else Ernestine Neuländer-Simon) showing a woman modelling jewellery from Berlin’s Ethnological Museum. The image itself is a harbinger, Peters says. Yva’s refined costumed figure anticipates the 1930s shift away from the working girls and femme fatales of the 1920s to the less threatening society ladies of the Nazi period.

Figures like Viegener and Grossberg went on working as artists during the Nazi years. Yva, who was Jewish, had to give up photography, finding work as an X-ray technician before being sent to the death camps.

• Neue Sachlichkeit / New Objectivity, Neue Galerie New York, 20 February-26 May

ExhibitionsNew ObjectivityModernismNeue GalerieNew York
Share
Subscribe to The Art Newspaper’s digital newsletter for your daily digest of essential news, views and analysis from the international art world delivered directly to your inbox.
Newsletter sign-up
Information
About
Contact
Cookie policy
Data protection
Privacy policy
Frequently Asked Questions
Subscription T&Cs
Terms and conditions
Advertise
Sister Papers
Sponsorship policy
Follow us
Facebook
Instagram
YouTube
LinkedIn
© The Art Newspaper