My Highlights from Art Basel 2014
This original drypoint is hand signed in pencil by the artist “Dix” at the lower right margin.
It is also inscribed with the title “Technisches Personal” in the centre of the lower margin.
Our impression is hand numbered in pencil from the edition of 50, at the lower left corner.
This work was one of the ten etching included in the Zirkus portfolio of 1922.
Another impression of this work can be found in the collections of the Brooklyn Museum, The National Gallery of Art, Washington, DC, Museum Kunstpalast, Düsseldorf and the Virginia Museum of Fine Arts.
Literature: Karsch, F. (1970) Otto Dix: Das Graphische Werk. Hanover: Verlag Schmidt-Kuster
Reference: Karsch 39/II
Condition: Excellent condition. Very pale time-staining in the margins.
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.
German, 1891-1969, Gera, Germany