New Objectivity

New Objectivity is an art style of representative-realistic painting of the 1920’s, which had as its goal the rendering of objects as matter-of-factly as possible. The term "New Objectivity" came from the exhibit of the same name that was shown first in 1925 in the Mannheim Kunsthalle. New Objectivity was divided for the most part into three separate directions: verism (Otto Dix, Christian Schad, George Grosz, Conrad Felixmüller and Rudolf Schlichter), classicism (Georg Schrimpf and Alexander Kanoldt) and magic realism (Franz Radziwill, Richard Oelze, Carl Grossberg, Herbert Böttger). In contrast with surrealism which existed at the same time and was focused on inwardness, the artists of New Objectivity wanted to make society aware of social ills. Important representatives of New Objectivity are: Herbert Böttger, George Grosz , Heinrich Maria Davringhausen, Otto Dix, Conrad Felixmüller, Otto Griebel, Carl Grossberg, Paul Kälberer, Alexander Kanoldt, Curt Querner, Franz Radziwill, Christian Schad, Rudolf Schlichter, Georg Schrimpf.

Related artists:  Beckmann, Max  |  Birkle, Albert  |  Botero, Fernando  |  Breitwieser, Georg  |  Davringhausen, Heinrich Maria  |  Dix, Otto  |  Ehmsen, Heinrich  |  Ehrhardt, Curt  |  Erbslöh, Adolf  |  Felixmüller, Conrad  |  Geiger, Willi  |  Geitlinger, Ernst  |  Grossberg, Carl  |  Grosz, George  |  Hofer, Karl  |  Hubbuch, Karl  |  Kanoldt, Alexander  |  Kleinschmidt, Paul  |  Lohse-Wächtler, Elfriede  |  Meidner, Ludwig  |  Mense, Carlo  |  Meurs, Harmen  |  Oppenheimer, Max  |  Orlik, Emil  |  Radziwill, Franz  |  Schad, Christian  |  Scharl, Josef  |  Schlichter, Rudolf  |  Schrimpf, Georg  |  Wunderwald, Gustav  |  Ziegler, Richard