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Otto Dix, ‘Lustmörder (Karsch 14)’, Sotheby's
Otto Dix, ‘Lustmörder (Karsch 14)’, Sotheby's
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Otto Dix

Lustmörder (Karsch 14)

Etching
17 1/5 × 12 4/5 in
43.7 × 32.5 cm
Bidding closed
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About the work
S
Sotheby's

Property from the Collection of Catherine Woodard and Nelson Blitz, Jr.

1920, signed in pencil and …

Property from the Collection of Catherine Woodard and Nelson Blitz, Jr.

1920, signed in pencil and titled, probably a proof before the edition of 20, on wove paper, published by Dresdner Verlag, Dresden, 1921, framed.

plate: 297 by 253 mm 11 3/4 by 10 in
sheet: 437 by 325 mm 17 1/4 by 12 3/4 in

Guaranteed Property (see

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.

Otto Dix, ‘Lustmörder (Karsch 14)’, Sotheby's
Otto Dix, ‘Lustmörder (Karsch 14)’, Sotheby's
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
S
Sotheby's

Property from the Collection of Catherine Woodard and Nelson Blitz, Jr.

1920, signed in pencil and …

Property from the Collection of Catherine Woodard and Nelson Blitz, Jr.

1920, signed in pencil and titled, probably a proof before the edition of 20, on wove paper, published by Dresdner Verlag, Dresden, 1921, framed.

plate: 297 by 253 mm 11 3/4 by 10 in
sheet: 437 by 325 mm 17 1/4 by 12 3/4 in

Guaranteed Property (see

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

Lustmörder (Karsch 14)

Etching
17 1/5 × 12 4/5 in
43.7 × 32.5 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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