Empty Nest Evolution: Neue Galerie

Wilhelm Heinrich Otto Dix, Germany 1891-1969, is widely considered one of the most important artists of the Neue Sachlichkeit. Thanks to the Brown Shirts, also known as the SA, much of his work was destroyed after Hitler's rise to power. At the time, he was best known for harsh depictions of the Weimar Society between the world wars...

"...which in particular attached Germanic national myths which had been sculpted on the ideals of militarism and human sacrifice for country...and stood in contrast to the Weimar Republic's response of hedonistic escapism in the face of impending social chaos and economic doom." from"Addicted to the Trauma of Realism" MadamePickwickArtBlog

Portrait of the Dancer Anita Berber 1925

Dix paintings showed "art so tragic it borders on the comic. Its the surreal and fantastic looking, finding aesthetic form within an idiom of graphic depiction.A visual representation bordering on the burlesque, of straddling a new art zone between the romantic and reproductive, the product of modern warfare and its unlimited power to depersonalize and defigure the human spirit." MadamePickwickArtBlog

The Salon 1921

There are numerous half-nude female models, signaling an unrepentant, usually unflattering fixation on female breasts; Dix often seems to have equated women with dumbness, whether brute or weak. But he could be intermittently sympathetic, especially concerning the downtrodden or the creative, as evidenced by early portraits like “Working-Class Boy,” which calls to mind Alice Neel’s paintings, and “Unemployed Man,” and by later ones of the poet Iwar von Lücken and the philosopher Max Scheler. A borderline case is the rarely exhibited “Two Children” from 1921, whose subjects seem innocent and open, despite strangely deformed features, and is more Diane Arbus than Neel. New York Times 3/11/10

Most astonishing about his work are the variety of styles in which he paints. He explore new genres over the course of his career changing his style continually.

left: Sunday Stroll


right:
Prague Street 1921

                                                                The Match Seller 1920


As with most German artists of his generation, Dix’s formative experience was World War I. He emerged from nearly four years in the trenches physically unscathed but psychically scarred. He attempted exorcism with “Der Krieg” (“The War”), a suite of 50 mostly masterly etchings published by Nierendorf in 1924. They convey a searing sense of the physical horror of war — most prominently wounded and rotting flesh — that remains unmatched in the history of art."    New York Times 3/11/10

Dix’s fifty prints that make up "War" are absolutely horrific and utterly terrifying. The pieces are smaller and darker than Beckmann’s, and more frightening. While Beckmann’s war takes place at home, on the streets and inside houses, Dix’s war is fought in the trenches, where soldiers become rotting skeletons, bodies hang from barbed wire, and even the survivors are battling death. Using different techniques, including etching and drypoint, Dix, who earned the Iron Cross in WWI, relates the hellish nature of war in gloomy panels that, taken together, would make one scary graphic novel — and are just as relevant today as when he made them in 1924. In "Soldiers’ Graves Between the Lines," the moon casts an eerie shadow on the dark night. Two skulls appear to be drowning in the earth in "Buried Alive." In "Shock Troops Advance Under Gas," four ghostly figures are charging forward in gas masks, evoking current fears of bioterrorism. There appears to be no relief in sight for the troops in "The Second Company Will Be Relieved Tonight." Several pieces show soldiers dancing with grotesque women, some of whom look like ghosts. In "The Madwoman of St.-Marie-à-Py," a lady erupts, a dead body at her knees. The "Dead Man" from St. Clement at first could be sleeping — until you look closer and see his brains oozing out of his head. Don’t rush through this powerful room; walk through it several times, take a seat, and breathe in the horror. It’s an exhilarating yet paralyzing experience. This Week in New York

As German painters often still do, Dix believed that the medium’s entire history — especially the German part — was available for his use. He painted in the small-brush smooth-surface manner of Albrecht Dürer and looked to Lucas Cranach for inspiration. With contemporaries like Christian Schad, he contributed to a perverse new style of realist painting, called the New Objectivity (Neue Sachlichkeit) that emerged in 1926. wikipedia

Bertolt Brecht 1926

Dr. Mayer -Hermann Berlin 1926

"Otto Dix created this painting titled The Seven Deadly Sins in 1933. It is an allegorical painting representing the political situation in Germany at the time, and was created immediately after the Nazis had Dix removed from his teaching position at the Dresden Art Academy.

The Seven Deadly Sins 1933
The figures are Avarice (an old, bent over hag clutching at money), Envy (who rides the back of Avarice), Sloth (the figure in the skeleton of Avarice, wears a mask of Adolf Hitler. As a matter of precaution, Dix did not paint in the Hitler mustache until after the War! The figure of Sloth is prominently featured because the Artist blamed the German people's lack of alarm and concern as a primary reason for the Nazis rise to power. This Oil and Tempera painting done on Wood shows Dix to have been one of Germany's grecostume who holds the scythe, and whose legs and arms form a rough swastika), Lust (who dances in a lascivious way behind Death, Anger (the horned Demon behind Death), Pride (the enormous head behind the scythe, whose ears are plugged and who has an anus for a mouth), and Gluttony (represented by the figure in the uppermost right corner who wears a cooking pot on his head). The figure of Envy, who rides the back of Avarice wears a mask of Adolf Hitler. As a matter of precaution, Dix did not paint in the Hitler mustache until after the war.. .Art for a Change by Mark Vallen

The Hitler Nazi regime destroyed many of Otto Dix’s paintings after the 1937 exhibition, ”Reflections on Decadence”. He must have been incredibly prolific. There are hundreds of images on the internet.