Otto Dix, ‘Portrait of the journalist Sylvia von Harden’, 1926, Art Resource
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Otto Dix

Portrait of the journalist Sylvia von Harden, 1926

Oil and tempera on wood
47 3/5 × 35 in
121 × 89 cm
Location
New York
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About the work
Articles
AR
Art Resource
New York
Medium
Painting
Image rights
CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY / Dix, Otto (1891-1969) © ARS, NY
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, ‘Portrait of the journalist Sylvia von Harden’, 1926, Art Resource
Save
Save
View
View in room
Share
Share
About the work
Articles
AR
Art Resource
New York
Medium
Painting
Image rights
CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY / Dix, Otto (1891-1969) © ARS, NY
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

Portrait of the journalist Sylvia von Harden, 1926

Oil and tempera on wood
47 3/5 × 35 in
121 × 89 cm
Location
New York
Want to sell a work by this artist? Consign with Artsy.
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