DOCSLIB.ORG

Biography and the Educative: a Critical Examination of the Life and Artwork of Wilhelm Heinrich Otto Dix

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biography and the Educative: a Critical Examination of the Life and Artwork of Wilhelm Heinrich Otto Dix University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON Biography and the Educative: A Critical Examination of the Life and Artwork of Wilhelm Heinrich Otto Dix. One Volume Charanjit Singh (MSc, Barrister) Doctor of Philosophy (Ph.D) Faculty of Human and Social Sciences November 2012 1 2 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMAN AND SOCIAL SCIENCES SCHOOL OF EDUCATION Doctor of Philosophy (Ph.D) Biography and the Educative: A Critical Examination of the Life and Artwork of Wilhelm Heinrich Otto Dix. By Charanjit Singh Often modern institutionalised notions of the educative connect less to education as a means through which individuals and society can improve, but more with education as the conduit by which to achieve a particular career. Both these notions are of equal importance because of the dynamics in which modern day education exists. Wilhelm Heinrich Otto Dix (1891 – 1969) was an individual who learnt much through his life, but in a continuous democratizing effort he also shared his experiences with those that surrounded him. In this study I will explore the educational influences in the life and artwork of this artist and the formation of his self from a broader notion of the educative. This is achieved through the combination of Bildung (a German concept that concentrates on self- formation, education and cultivation), traditional biographical and art historical analysis, and Pierre Bourdieu’s theory of the habitus. The result, as exemplified by the artists life is to show that Otto Dix was in a state of Bildung and thus his self was constantly forming and reforming. The study brings together, for the first time, notions of Dix’s bildung and self-regard. 3 4 Contents Page Title Page and Thesis Abstract 1 – 3 Contents 5 List of Illustrations 7 – 9 Declaration of Authorship 11 Acknowledgements 13 Definitions and Glossary of Terms 15 – 22 Chapter One: Introduction 23 – 34 Chapter Two: Literature Review 35 – 82 Chapter Three: Analytical and Methodological Framework 83 – 108 Chapter Four: Otto Dix Biography 109 – 116 Chapter Five: Otto Dix Biography (1890 – 1918) 117 – 152 Chapter Six: Otto Dix Biography (1918 – 1969) 151 – 192 Chapter Seven: Conclusion: Dix and the Educative 193 – 210 Appendices 211 – 262 Bibliography 263 – 297 5 6 List of Illustrations: Plates and Diagrams Figure 1: Halbakt (Half Nude), 1929 Christian Schad Figure 2: Bildnis der Tanzerin Anita Berber (Portrait of a Dancer Anita Berber), 1925 Otto Dix Figure 3: Die Stützen der Gesellschaft (The Pillars of Society), 1926 George Grosz Figure 4: Bildnis Margot (A Portrait of Margot), 1924 Rudolph Schlicter Figure 5: Agosta, der Flügelmensch, und Rasha, die schwarze Taube (Agosta, the Pigeon-Chested Man, and Rasha, the Black Dove), 1929 Christian Schad Figure 6: Diagrammatic Representation of Study Figure 7: Bildnis Frau Martha Dix (Portrait of Martha Dix), 1923 Otto Dix Figure 8: Lustmord Scene II (Mord) or Sexmord (Scene II (Murder)), 1922 Otto Dix Figure 9: Halbakt (Half Nude), 1926 Otto Dix Figure 10: Kriegskrüppel (War Cripples), 1920 Otto Dix Figure 11: Die Eltern des Künstlers II (Portrait of My Parents II), 1922 Otto Dix Figure 12: Die Eltern des Künstlers I (Portrait of My Parents I), 1921 Otto Dix Figure 13: Selbstbildnis als Soldat (Self-Portrait as a Soldier), 1914 Otto Dix Figure 14: Selbstbildnis mit Artillerie-Helm (Self-Portrait Wearing Gunner's Helmet), 1914 Otto Dix Figure 15: Selbstbildnis mit Zwei-Frauen (Self-Portrait with Two Women), 1920 George Grosz 7 Figure 16: Diagrammatic Representation of Analysis Figure 17: Nikolaus (Portrait of Nikolaus Schad as a Child), 1926 Christian Schad Figure 18: Marcella (Portrait of Christan Schad’s Wife), 1926 Christian Schad Figure 19: Man with Glass Eye, 1926 George Grosz Figure 20: The Rape of the Sabine Women, 1634 Nicolas Poussin Figure 21: Rue Montorguiel in Paris, Festival of June 30, 1878 Claude Monet Figure 22: The Operation, 1929 Christian Schad Figure 23: Sonnenaufgang (Sunrise), 1913 Otto Dix Figure 24: Selbstportrait mit Nelke (Self-portrait with Carnation), 1912 Otto Dix Figure 25: Bust of Frederick Nietzsche, 1914 Otto Dix Figure 26: Selbportrait als Schießscheibe (Self-Portrait as Shooting Target), 1915 Otto Dix Figure 27: Ein Schones Grab (A Beautiful Grave), 1916 Otto Dix Figure 28: Lichtsignale (Flare), 1917 Otto Dix Figure 29: Die Felixmüller Familie (The Felixmüller Family), 1919 Otto Dix Figure 30: Dr. Meyer-Herman, 1926 (Berlin) Otto Dix Figure 31: Streetfight, 1927 Otto Dix 8 Figure 32: Erste internationale Dada-Messe: Katalog. Figure 33: Dr Hans Koch, 1921 Otto Dix Figure 34: Apotheose (Apotheosis), 1919 (published in 1922) Figure 35: Photograph of Dix with Käthe König, 1962 Otto Dix Figure 36: Reclining Woman on Leopard Skin, 1927 Otto Dix Figure 37: Lustmord (Sex murder), 1922 Figure 38: Lustmord I, Versuch (Sex Murder I, Trial), 1922 Figure 39: Photograph: Self-portrait with Eva Peters George Grosz Figure 40: Der Lustmörder (Selbstbildnis) (Sex Murderer), circa 1920 Otto Dix Figure 41: Der Salon I (The Salon I), 1921 Otto Dix Figure 42: Der Krieg (The War), 1932 Figure 43: Bildnis der Journalistin Sylvia von Harden (Portrait of the Journalist Sylvia von Harden), 1926 Otto Dix Figure 44: To Beauty, 1922 Otto Dix Figure 45: Selbstbildnis als Kriegsgefangener (Self-portrait as a Prisoner of War), 1947 Otto Dix Figure 46: Ecce Homo III (Behold the Man), 1949 Otto Dix Figure 47: Krieg und Frieden (War and Peace), 1960 Otto Dix Figure 48: Mädchen vor dem Spiegel (Girl in Front of a Mirror), 1922 Otto Dix 9 10 Academic Thesis: Declaration Of Authorship I CHARANJIT SINGH declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. Biography and the Educative: A Critical Examination of the Life and Artwork of Wilhelm Heinrich Otto Dix. I confirm that: 1. This work was done wholly or mainly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Either none of this work has been published before submission, or parts of this work have been published as: Singh Landa, C. (2010) Capturing Humanity: The implicated biography and validity in a narrative world. HSOTONDRJ. Vol. 1 April 2010. University of Southampton Publication. Singh Landa, C. (2012). Biography as a Looking Glass: Revealing the Hidden Influences in the Life of Christian Schad. In Sparkes, A. C. (Ed.). Auto/Biography Yearbook 2012. Nottingham: Russell Press. Pp. 94 – 109. Signed: ……………………………………………………………………………………………………………………… Date: ……………………………………………………………………………………………………………………… 11 12 Special Acknowledgements I wish to thank my parents Mr. and Mrs. Singh Landa and those friends and relatives including Surinder Pal Singh and Udam Singh Landa (and all my siblings) who supported me throughout my studies, support that often included proof reading my many English to French and German, and French and German to English translations. Further, I wish to acknowledge the encouragement and support of both Mr. Ian Bryant (PhD Supervisor) and Dr. Gillian Clarke (academic mentor) and the many scholars who inspired my research including Mr. Michael Erben from the University of Southampton’s Education School. I also provide special mention to the Otto Dix Stiftung (Foundation), which was set-up by Martha Dix (the widow of the artist) in 1983. The Foundation has proved a useful source both because of its archive and extensive collection of evidence but also as the starting point through which much other evidence could be collated. The Foundation has connection with scholars on Dix including Professor Dr. Rainer Beck, Dr. Suse Pfäffle and Dr. Ulrike Lorenz. The Otto Dix archive is maintained by Pfefferkorn and Rainer Northild Eger (archive at www.otto-dix.de). The council is based in Vaduz, Städtle 22, FL 9490 Vaduz and the archive is located in Bevaix, Chauvigny, CH 2022 Bevaix. I would also wish to thank Dresden and Gera City (Germany) Civil Offices and Archives: Births, Deaths and Marriages, the Academy of Art (Dresden), the School of Arts and Crafts (Dresden) and the many galleries that I contacted for the efficiency by which they responded to my requests for information. 13 14 Definitions and Glossary of Terms What follows is an outline clarification of the terms used within the argument in this thesis, thus avoiding the many interpretations that are given to terminology. Unless otherwise stated, the traditional definition has been adopted.
Load more

Recommended publications
  • La Libertà Dell'astrazione Heinrich Maria Davring
    HEINRICH MARIA DAVRING- HAUSEN MARCO-MARIOTTA-DESIGNS.COM LA LIBERTÀ 10 MARZO - 9 GIUGNO 2013 INAUGURAZIONE SABATO 9 MARZO DELL’ASTRAZIONE ORE 17.30 Heinrich Maria Davringhausen: La libertà dell’astrazione Heinrich Maria Davringhausen: Die Freiheit der Abstraktion Il Museo Comunale d’Arte Moderna di Ascona continua la Auch dieses Jahr möchte das Museo Comunale d’Arte sua attività di valorizzazione dei maestri della propria colle- Moderna Ascona wieder einen Künstler aus der eigenen zione presentando una nuova mostra di grande interesse, in- Sammlung vorstellen, nämlich Heinrich Maria Davringhausen centrata su un artista poco conosciuto e raramente trattato (Aachen 1894 - Nizza 1970), ein wenig bekannter und von der dalla critica in ambito italiano, Heinrich Maria Davringhausen Kritik im italienisch sprechenden Raum selten behandelter (Aachen 1894 - Nizza 1970), uno dei pionieri della Nuova Künstler, der jedoch einer der Pioniere der Neuen Sachlichkeit oggettività e del Realismo magico, anch’egli legato ad Ascona, und des Magischen Realismus war und in seinem Leben zu ver- come tanti altri esponenti della storia dell’arte moderna. schiedenen Zeitpunkten Beziehungen zu Ascona hatte, so wie auch viele andere Vertreter der modernen Kunstgeschichte. Il legame con Ascona inizia già nel 1914, quando Davring- hausen, attirato dagli ambienti anarchici, soggiorna al Monte Die Beziehung zu Ascona beginnt schon 1914, als Davringhausen, Verità, conoscendo vari artisti, come la danzatrice Mary angezogen von dessen anarchistischem Milieu, auf dem Monte
    [Show full text]
  • Download File
    Bergt 1 Siena Sofia Bergt Professor Insdorf Analysis of Film Language 26 February 2018 Colored Perspectives: Shading World War II Onscreen Films that deal with World War II—whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath—have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these worKs recKon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films— Andrzej Wajda’s black-and-white 1958 rendition of the war’s last 24 hours in “Ashes and Diamonds,” the Harlequin prewar chaos of Bob Fosse’s 1972 “Cabaret,” and the delicate balance of color and blacK-and-white characterizing the postwar divided Germany of Wim Wenders’ 1987 “Wings of Desire”—we may access a richer understanding, not simply of the films’ stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text’s taKe on both subjectivity and objectivity. Bergt 2 The best “entry point” into these stylistically and temporally distinct films’ chromatic motifs is through three strikingly analogous crowd scenes—each of which uses communal participation in a diegetically well-known song to highlight a moment of dramatic urgency or volatility.
    [Show full text]
  • Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer
    chapter 12 Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer Hildegard Reinhardt Abstract The artist Elisabeth Epstein is usually mentioned as a participant in the first Blaue Reiter exhibition in 1911 and the Erster Deutscher Herbstsalon in 1913. Living in Munich after 1898, Epstein studied with Anton Ažbe, Wassily Kandinsky, and Alexei Jawlensky and participated in Werefkin’s salon. She had already begun exhibiting her work in Paris in 1906 and, after her move there in 1908, she became the main facilitator of the artistic exchange between the Blue Rider artists and Sonia and Robert Delaunay. In the 1920s and 1930s she was active both in Geneva and Paris. This essay discusses the life and work of this Russian-Swiss painter who has remained a peripheral figure despite her crucial role as a mediator of the French-German cultural transfer. Moscow and Munich (1895–1908) The special attraction that Munich and Paris exerted at the beginning of the twentieth century on female Russian painters such as Alexandra Exter, Sonia Delaunay, Natalia Goncharova, and Olga Meerson likewise characterizes the biography of the artist Elisabeth Epstein née Hefter, the daughter of a doc- tor, born in Zhytomir/Ukraine on February 27, 1879. After the family’s move to Moscow, she began her studies, which continued from 1895 to 1897, with the then highly esteemed impressionist figure painter Leonid Pasternak.1 Hefter’s marriage, in April 1898, to the Russian doctor Miezyslaw (Max) Epstein, who had a practice in Munich, and the birth of her only child, Alex- ander, in March 1899, are the most significant personal events of her ten-year period in Bavaria’s capital.
    [Show full text]
  • Otto Dix (1891-1969) War Triptych, 1929-32
    Otto Dix (1891-1969) War Triptych, 1929-32 Key facts: Date: 1929-32 Size: Middle panel: 204 x 204 cm; Left and right wing each 204 x 102 cm; Predella: 60 x 204 cm Materials: Mixed media (egg tempera and oil) on wood Location: Staatliche Kunstammlungen, Dresden 1. ART HISTORICAL TERMS AND CONCEPTS Subject Matter: The Great War is a history painting within a landscape set out over four panels, a triptych with a predella panel below. The narrative begins in the left panel, the soldiers in their steel helmets depart for war through a thick haze, already doomed in Dix’s view. In the right panel, a wounded soldier is carried from the battlefield, while the destructive results of battle are starkly depicted in the central panel. This is a bleak and desolate landscape, filled with death and ruin, presided over by a corpse. Trees are charred, bodies are battered and torn and lifeless. War has impacted every part of the landscape. (This panel was a reworking on an earlier painting Dix had done entitled The Trench, 1920-3. David Crocket wrote: “many, if not most, of those who saw this painting in Cologne and Berlin during 1923-24 knew nothing about this aspect of the war.” The predella scene shows several soldiers lying next to one another. Perhaps they are sleeping in the trenches, about to go back into the cycle of battle when they awake, or perhaps they have already fallen and will never wake again. Dix repeatedly depicted World War I and its consequences after having fought in it himself as a young man.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Photograms1999 Pressrelease
    FOR IMMEDIATE RELEASE THE PHOTOGRAM: 1918–1948 January 23 – March 6, 1999 Ubu Gallery is pleased to present The Photogram: 1918–1948, a survey of the historical development of a unique and beautiful photographic process – an abstract marriage of light and chemistry made without the objectifying presence of the camera. The exhibition will open on January 23, 1999 and run through March 6, 1999. At its simplest, a photogram is essentially a one-of-a-kind negative image created by placing objects on a sheet of photographic paper that is exposed to light and then developed and processed in the manner of a normal photographic print. Although variants of this type of process date back to the origins of photography, the creative potential of the photogram went unrealized until unlocked by Christian Schad, a member of the original Zurich Dada group, in 1918. At the heart of the Dadaist aesthetic was the concept of creating a new art from the detritus of a “morally corrupt,” bourgeois society. Like the materials found in Kurt Schwitters’s collages, Schad appropriated as his subject matter an eclectic array of found objects – discarded tickets, fabric, newsprint, string, etc. Tristan Tzara dubbed Schad’s series of small format photograms “Schadographs,” playing upon the name of their creator and the shadow aspect of the process. In the early 1920s, Man Ray, Lázló Moholy-Nagy and El Lissitzky – working independently – pushed the medium past Schad’s collage-like photograms. Their most significant innovation was the introduction of a sense of depth or interior space obtained by varying the dimensionality, volume and translucence of the objects and the form and manner of the lighting sources.
    [Show full text]
  • New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 on View: October 4, 2015–January 18, 2016 Location: BCAM, 2Nd Floor
    Exhibition: New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 On View: October 4, 2015–January 18, 2016 Location: BCAM, 2nd Floor Image captions on page 5 (Los Angeles—April 7, 2015) The Los Angeles County Museum of Art (LACMA) presents New Objectivity: Modern German Art in the Weimar Republic, 1919–1933, the first comprehensive show in the United States to explore the themes that characterize the dominant artistic trends of the Weimar Republic. Organized in association with the Museo Correr in Venice, Italy, this exhibition features nearly 200 paintings, photographs, drawings, and prints by more than 50 artists, many of whom are little known in the United States. Key figures—Otto Dix, George Grosz, Christian Schad, August Sander, and Max Beckmann— whose heterogeneous careers are essential to understanding 20th century German modernism, are presented together with lesser known artists, including Herbert Ploberger, Hans Finsler, Georg Schrimpf, Heinrich Maria Davringhausen, Carl Grossberg, and Aenne Biermann, among others. Special attention is devoted to the juxtaposition of painting and photography, offering the rare opportunity to examine both the similarities and differences between the movement’s diverse media. During the 14 years of the Weimar Republic (1919–1933), artists in Germany grappled with the devastating aftermath of World War I: the social, cultural, and economic effects of rapid modernization and urbanization; staggering unemployment and despair; shifting gender identities; and developments in technology and industry. Situated between the end of World War I and the Nazi assumption of power, Germany’s first democracy thrived as a laboratory for widespread cultural achievement, witnessing the end of Expressionism, the exuberant anti- art activities of the Dadaists, the establishment of the Bauhaus design school, and the emergence of a new realism.
    [Show full text]
  • The Experience of the German Soldier on the Eastern Front
    AUTONOMY IN THE GREAT WAR: THE EXPERIENCE OF THE GERMAN SOLDIER ON THE EASTERN FRONT A THESIS IN History Presented to the Faculty of the University Of Missouri-Kansas City in partial fulfillment of The requirements for the degree MASTER OF ARTS By Kevin Patrick Baker B.A. University of Kansas, 2007 Kansas City, Missouri 2012 ©2012 KEVIN PATRICK BAKER ALL RIGHTS RESERVED AUTONOMY IN THE GREAT WAR: THE EXPERIENCE OF THE GERMAN SOLDIER ON THE EASTERN FRONT Kevin Patrick Baker, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2012 ABSTRACT From 1914 to 1919, the German military established an occupation zone in the territory of present day Poland, Lithuania, and Latvia. Cultural historians have generally focused on the role of German soldiers as psychological and physical victims trapped in total war that was out of their control. Military historians have maintained that these ordinary German soldiers acted not as victims but as perpetrators causing atrocities in the occupied lands of the Eastern Front. This paper seeks to build on the existing scholarship on the soldier’s experience during the Great War by moving beyond this dichotomy of victim vs. perpetrator in order to describe the everyday existence of soldiers. Through the lens of individual selfhood, this approach will explore the gray areas that saturated the experience of war. In order to gain a better understanding of how ordinary soldiers appropriated individual autonomy in total war, this master’s thesis plans to use an everyday-life approach by looking at individual soldiers’ behaviors underneath the canopy of military hegemony.
    [Show full text]
  • Karl Hubbuch (Karlsruhe 1891 – 1979 Karlsruhe)
    Nummer 397 Kunstwerk des Monats April 2018 Karl Hubbuch (Karlsruhe 1891 – 1979 Karlsruhe) Erinnerungen an den 04. Januar 1925, 1925, Lithographie 30,8 x 23,1 cm (Darstellung) 32,5 x 24,9 cm (Blatt), Inv. Nr. L 638 „Der Welt den Spiegel vorhalten“, mit diesem Zitat aus durch einen collageartigen Aufbau mit mehreren Erzähl- Shakespeares Hamlet umschrieb Karl Hubbuch die Intenti- ebenen gelungen. on seiner Kunst (Brief an Franz Roh vom 12. Februar 1953). Der Blick aus dem Fenster, angedeutet durch den Vorhang in der oberen linken Ecke, fällt auf eine Hochzeitsge- Wie bei vielen Arbeiten der 1920er Jahre hat Hubbuch sellschaft. Die Leserichtung führt den Blick weiter über auf dem Blatt mit den „Erinnerungen an den 04. Januar ein Gebäude zu dem Brautpaar in einem Auto. Durch 1925“ einen autobiographischen Inhalt in einen größeren zwei große Blüten, die vermutlich auf einer Fensterbank gesellschaftlichen Rahmen eingebettet. Dies ist ihm stehen, sind vier kleinteiligere Szenen isoliert. Die Berliner Theaterbühnen hatten den jungen Hubbuch Aufruf zur Wahl der Demokratie dar. Damit spielte er zu einer solchen Komposition mit verschiedenen Bild- auf die politische Lage an, in der Hitler längst kein kleines strukturen und Maßstäben inspiriert. Während seiner Licht mehr war. Durch eine Unterredung am Tresen und Studienzeit an der Lehranstalt des Kunstgewerbemuseums der Beschilderung „Arbeits-Amt“ verdeutlichte er ein hatte er bis Kriegsausbruch viele Inszenierungen gesehen. weiteres gesellschaftliches Problem. Zudem schien Der Wechsel von der Großherzoglichen Badischen Aka- Hubbuch durch die Darstellung einer Frau mit grafischen demie in Karlsruhe nach Berlin wurde Hubbuch 1912 Blättern auf die eigene Lage des Künstlerdaseins zu durch die finanzielle Unterstützung seines bis dahin verweisen.
    [Show full text]
  • German and Austrian Art of the 1920S and 1930S the Marvin and Janet Fishman Collection
    German and Austrian Art of the 1920s and 1930s The Marvin and Janet Fishman Collection The concept Neue Sachlichkeit (New Objectivity) was introduced in Germany in the 1920s to account for new developments in art after German and Austrian Impressionism and Expressionism. Gustav Friedrich Hartlaub mounted an exhibition at the Mannheim Museum in 1925 under the title Neue Art of the1920s and1930s Sachlichkeit giving the concept an official introduction into modern art in the Weimar era of Post-World War I Germany. In contrast to impressionist or abstract art, this new art was grounded in tangible reality, often rely- ing on a vocabulary previously established in nineteenth-century realism. The artists Otto Dix, George Grosz, Karl Hubbuch, Felix Nussbaum, and Christian Schad among others–all represented in the Haggerty exhibi- tion–did not flinch from showing the social ills of urban life. They cata- logued vividly war-inflicted disruptions of the social order including pover- Otto Dix (1891-1969), Sonntagsspaziergang (Sunday Outing), 1922 Will Grohmann (1887-1968), Frauen am Potsdamer Platz (Women at Postdamer ty, industrial vice, and seeds of ethnic discrimination. Portraits, bourgeois Oil and tempera on canvas, 29 1/2 x 23 5/8 in. Place), ca.1915, Oil on canvas, 23 1/2 x 19 3/4 in. café society, and prostitutes are also common themes. Neue Sachlichkeit artists lacked utopian ideals of the Expressionists. These artists did not hope to provoke revolutionary reform of social ailments. Rather, their task was to report veristically on the actuality of life including the ugly and the vulgar. Cynicism, irony, and wit judiciously temper their otherwise somber depictions.
    [Show full text]
  • Ein Biogra Scher Garten Der Garten Der Familie Dix in Hemmenhofen
    Ein biograscher Garten Der Garten der Familie Dix in Hemmenhofen s war ein wildes Gemisch aus kräigen Far- Frau Martha und den Kindern Nelly (13), Ursus (9) und «Eben », so erinnert sich Jan Dix an die Blumen- Jan (8) zog er 1936 auf die Halbinsel Höri nach Hemmen- sträusse, die seine Muer Martha und seine Schwester hofen, gegenüber von Steckborn am deutschen Ufer des Nelly aus dem Garten der Familie des Malers Oo Dix Bodensees. Die Höri war bereits anfangs des 20. Jahrhun- zusammenstellten. « Schwefelgelbe Schafgarbe neben derts als ländlicher Sehnsuchtsort von Lebensreformern nachtschwarzen Malven, vielerlei Formen und komple- und Künstlern entdeckt worden, unter ihnen auch Her- mentäre Farben, dicht gedrängte, starrköpge Zinnien mann Hesse, der sich 1907 im benachbarten Gaienhofen in ihren unwahrscheinlich reichen Farbnuancen waren für fünf Jahre niedergelassen hae. Die Dixens gehörten Motive für Blumenbilder. Kapuzinerkresse, Schwertlilie, zu einer zweiten Generation von Höri-Künstlern, die sich Nelke, alles o in Portraits als Aribut verwendet, wurde in in der Zeit der Nazi-Diktatur wohl oder übel aus dem Hemmenhofen im Garten angepanzt und gepegt. » Vom öentlichen Leben haen zurückziehen müssen. Oo Dix, Garten auf die Leinwand des Vaters waren es nur wenige der « Grossstadtmensch », pegte zeitlebens ein gespalte- Schrie. Und auch wenn Oo Dix weder Blumenmaler nes Verhältnis zu seinem neuen Lebensort, den er bis zu noch Gärtner genannt werden kann, so sind Panzenbeob- seinem Tod 1969 beibehielt. « Zum Kotzen schön », so achtungen aus dem Garten doch vielfach in seine Arbeiten Dix, sei diese Landscha, die er in den Zeiten der inne- eingeossen, wurde der Garten zum geliebten und gestalte- ren Emigration gleichwohl oder gerade deswegen immer ten Zuhause für ihn und seine Familie.
    [Show full text]
  • Otto Dix, Letters, Vol.1
    8 Letters vol. 1 1904–1927 Translated by Mark Kanak Translation © 2016 Mark Kanak. .—ıst Contra Mundum Press Edition Otto Dix, Briefe © 2014 by 290 pp., 6x 9 in. Wienand Verlag GmbH isbn 9781940625188 First Contra Mundum Press Edition 2016. I. Dix, Otto. II. Title. All Rights Reserved under III. Kanak, Mark. International & Pan-American IV. Translator. Copyright Conventions. V. Ulrike Lorenz, Gudrun No part of this book may be Schmidt. reproduced in any form or by VI. Introduction. any electronic means, including information storage and retrieval 2016943764 systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Library of Congress Cataloguing-in-Publication Data Dix, Otto, 1891–1969 [Briefe. English.] Letters, Vol. 1, 1904–1927 / Otto Dix; translated from the original German by Mark Kanak ToC Introduction 0–xxvii About This Edition xxviii–xlv Letters 0–215 Object Shapes Form 218–220 8 Introduction Ulrike Lorenz An Artist’s Life in Letters “I’ve never written confessions since, as closer inspection will reveal, my paintings are confessions of the sincerest kind you will find, quite a rare thing in these times.” — Otto Dix to Hans Kinkel (March 29, 1948) An Artist without Manifestœs A man of words, this letter writer never was. In re- sponse to art critic Hans Kinkel’s request to contribute to a collection of self-testimonials of German painters, Dix gruffly rebuked him, surly calling such pieces noth- ing but “vanity, subjective chatter.”1 And this in the precarious postwar situation, as the 57-year-old —.
    [Show full text]