Otto Dix, ‘Der Krieg’, 1924, Christie's
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Otto Dix

Der Krieg, 1924

The set of fifty etchings with drypoint and aquatint, most plates on laid paper
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Christie's

PROPERTY FROM THE BUCHHEIM MUSEUM, BERNRIED, GERMANY

Watermark BSB, some without watermark and 12 …

Medium
Print
Otto Dix
German, 1891–1969
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In his Expressionist prints and paintings, Otto Dix immortalized the unprecedented horrors of World War I and its crippling aftereffects on life in Berlin. Anguish radiates from Dix’s desolate landscapes of military trenches filled with barely distinguishable, decaying human remains, the legacy of the first industrialized war, while images of poor, disfigured, and lonely veterans invisible to passersby on the streets were comments on war’s unequal impact on different societal groups. Exploitation is also the theme of his “Femme Fatale” paintings, criticizing the narcissism that drove women to work the system in attempt to outdo one another—a representation of the social turmoil at the time. Along with George Grosz, Dix is widely considered one of the most important artists of the Neue Sachlichkeit (“New Objectivity”), a term used to characterize the turn of public attitudes in Weimar Germany toward the practical and functional and the art the emerged from it.

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Otto Dix, ‘Der Krieg’, 1924, Christie's
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Save
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About the work
Articles
Bibliography
Provenance
C
Christie's

PROPERTY FROM THE BUCHHEIM MUSEUM, BERNRIED, GERMANY

Watermark BSB, some without watermark and 12 plates on wove paper, all signed in pencil, mostly unnumbered (one plate numbered 15/70 and dated 24 in pencil), presumably a proof set aside from the total edition of seventy published by Karl Nierendorf, Berlin, printed …

Medium
Print
Otto Dix
German, 1891–1969
Follow

In his Expressionist prints and paintings, Otto Dix immortalized the unprecedented horrors of World War I and its crippling aftereffects on life in Berlin. Anguish radiates from Dix’s desolate landscapes of military trenches filled with barely distinguishable, decaying human remains, the legacy of the first industrialized war, while images of poor, disfigured, and lonely veterans invisible to passersby on the streets were comments on war’s unequal impact on different societal groups. Exploitation is also the theme of his “Femme Fatale” paintings, criticizing the narcissism that drove women to work the system in attempt to outdo one another—a representation of the social turmoil at the time. Along with George Grosz, Dix is widely considered one of the most important artists of the Neue Sachlichkeit (“New Objectivity”), a term used to characterize the turn of public attitudes in Weimar Germany toward the practical and functional and the art the emerged from it.

Otto Dix

Der Krieg, 1924

The set of fifty etchings with drypoint and aquatint, most plates on laid paper
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Other works by Otto Dix
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