About us
Movements, Styles, and Tendencies Neue Sachlichkeit (New Objectivity)
Neue Sachlichkeit (New Objectivity) Collage

Neue Sachlichkeit (New Objectivity)

Started: 1919

Ended: 1933

Neue Sachlichkeit (New Objectivity) Timeline


"It's important to see things the way they are."
Otto Dix
"You know, if one paints someone's portrait, one should not know him if possible. No knowledge! I do not want to know him at all, I only want to see what is there, on the outside. The inner follows by itself. It is mirrored in the visible."
Otto Dix
"You have to see things the way they are. You have to be able to say yes to the human manifestations that exist and will always exist. That doesn't mean saying yes to war, but to a fate that approaches you under certain conditions and in which you have to prove yourself. Abnormal situations bring out all the depravity, the bestiality of human beings.. I portrayed states, states that the war brought about, and the results of war, as states."
Otto Dix
"Brutality! Clarity that hurts! There's enough music to fall asleep to! .. Paint as fast as you can! - capture time as it races by .."
George Grosz
"I believe that the reason why I love painting so much is that it forces one to be objective. There is nothing I hate more than sentimentality."
Max Beckmann
"All important things in art have always originated from the deepest feeling about the mystery of Being."
Max Beckmann
"In photography one should surely proceed from essence of the object and attempt to represent it with photographic terms alone."
Albert Renger-Patzsch
"We still don't sufficiently appreciate the opportunity to capture the magic of material things. The structure of wood, stone, and metal can be shown with a perfection beyond the means of painting... To do justice to modern technology's rigid linear structure... only photography is capable of that."
Albert Renger-Patzsch
"The secret of a good photograph - which, like a work of art, can have esthetic qualities - is its realism ... Let us therefore leave art to artists and endeavor to create, with the means peculiar to photography and without borrowing from art, photographs which will last because of their photographic qualities."
Albert Renger-Patzsch
"Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography."
August Sander
"Nothing is more hateful to me than photography sugar-coated with gimmicks, poses and false effects. Therefore, let me speak the truth in all honesty about our age and the people of our age."
August Sander


Otto DixOtto Dix
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
George GroszGeorge Grosz
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
Max BeckmannMax Beckmann
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
Rudolf SchlichterRudolf Schlichter
Quick View
Further External Info
- - - - - - - - - - - - - - - - -
August SanderAugust Sander
Quick View
Artist Page
- - - - - - - - - - - - - - - - -

"We must be a part of all the misery which is coming. We have to surrender our heart and our nerves ... It's the only course of action which might give purpose to our superfluous and selfish existence (as artists) that we give people a picture of their fate."

Max Beckmann Signature


Eschewing the idealism and utopianism that marked the first decade of the 20th century and disillusioned by a World War that wreaked havoc on bodies and society, the artists associated with Neue Sachlichkeit, or New Objectivity as it is translated in English, presented an unsentimental realism to address contemporary culture. Disgusted with the corruption apparent throughout the Weimar Republic but also entranced by new freedoms, this diverse group of artists did not necessarily share a style but rather a commitment to expose the objective truth underlying contemporary ills. Employing caricature, satire, Neoclassicism, and even Surrealism, artists such as Max Beckmann, George Grosz, Otto Dix, and August Sander portrayed leaders, bureaucrats, bohemians, laborers, and themselves unflinchingly, each complicit in the society they inhabited. The artists highlighted the social and political turmoil of life emphasized through war-profiteers, beggars, and prostitutes. They explored the rise of the metropolis with its freedoms and sexual liberation, but noted the increasing alienation from nature and rural life.

While their version of realism was initially regarded by some art historians as retrograde, Neue Sachlichkeit's variants would go on to later influence Magic Realism and German art of the 1960s as well as contemporary photography as propagated by Bernd and Hilla Becher.

Key Ideas

The Neue Sachlichkeit artists embraced realism in defiance of trends towards abstraction but renounced the idiosyncratic subjectivities espoused by early German Expressionists. They instead combined their realism with a healthy dose of the biting protests of the Dada movement. For the most part, their realism was not a traditional mimeticism but a distorted and dark realism that aimed to expose the moral degradation they witnessed in German society.
While all of the artists were committed to depicting current affairs, their styles ranged from a satirical Verism to a nostalgic Classicism to an uncanny Magical Realism. Despite the stylistic differences, many of the artists preferred more static compositions rather than dynamic ones, rendered their subjects with great precision, and eradicated the traces of the painting process and all gestural elements.
Portraiture, and self-portraiture, was common among the Neue Sachlichkeit artists. Whichever style the artist practiced, there is usually a tension in the portrait between the individual being represented and the type, or roll, that person plays in society. In the effort to paint the truth of the person, Neue Sachlichkeit portraits do not shy away from unflattering details or unsettling psychological effects.
Neue Sachlichkeit photographers shared the painter's desire to portray the objective truth of reality, but for the most part they avoided the social and political commentary that underlies so much of the painting.

Most Important Art

Neue Sachlichkeit (New Objectivity) Famous Art

The Night (1918-1919)

Artist: Max Beckmann
In this terrifying scene, Beckmann depicts a chaotic and violent event. Intruders have taken a family hostage, overturned their belongings, and are torturing them. The father hangs from his neck while one of the men twists his arm. Beckmann implies that one of the invaders raped the mother, with her wrists bound and her legs splayed and backside exposed, and a blond-haired child reaches out as another man attempts to carry her out of the room.

Beckmann intensifies the emotional charge of the scene with an illogical composition. For example, the woman seems to occupy the space in the foreground, and yet her hands are bound to a post that appears to be in the background. This distortion of space along with the exaggerated and fractured figures show Bekcmann's debt not only to Cubism but Expressionism as well, making The Night a transitional painting between Expressionism and Neue Sachlichkeit.

Having been supportive of the Great War, Beckmann became disillusioned with war and violence after having served as a medic in the military. Subsequently, he claimed that the role of the artist was to portray the "calamity" of the current situation: "We must be a part of all the misery which is coming. We have to surrender our heart and our nerves....It's the only course of action which might give purpose to our superfluous and selfish existence (as artists) that we give people a picture of their fate."

While Beckmann saw nothing good of the violence that the war had wrought, the scene is not without some ambivalence. As art critic Jonathan Jones argues that the scene "connects itself with images of sex and nocturnal adventure, especially with a scene in William Hogarth's The Rake's Progress, where we see the Rake indulging himself at a house of ill repute in London.". From this perspective, the work echoes a complexity of emotions, combining both "pain and pleasure, torture and desire." Both perpetrators and victims are rendered in the same way, thus in some sense rendering them on equal footing despite the events transpiring.
Read More ...

Neue Sachlichkeit (New Objectivity) Artworks in Focus:


Before World War I, Expressionism, as practiced by the groups Der Blaue Reiter and Die Brücke, held sway in Germany. Inspired by the exoticism of non-Western art and the dynamism of modern, urban life, these artists abandoned the traditional conceptions of art and searched for a language that was highly intuitive and emotional. Artists such as Ernst Ludwig Kirchner and Emile Nolde focused on the individual's inner world, highlighting the subjective perspective of seeing and understanding the world. If the idealism of Expressionism reigned before World War I, Dadaism, founded in 1916 in Zurich and spreading to Berlin shortly thereafter, embodied the nihilism and anti-art sentiments felt by many artists during the war. The fierce critique of war and bourgeois culture led to the rise of the photomontages of Hannah Hoch and Raoul Hausmann after the war.

In the wake of the establishment of the Weimar Republic, Germany's first democratic government, and still reeling from the devastations of World War I, social upheaval, and economic distress, in November 1918 Expressionist painters Max Pechstein and César Klein formed an artistic group in order to foster much-needed unity between artists, the public, and the state. As art critic Edward Sorel explained, the November Group "were confident that merely by rejecting the sentimentality of prewar German Expressionism, and substituting a more realistic, sober view of the life around them, they could not only bring about a new society, but usher in a 'new man.'" With the radical aim of establishing and supporting a socialist society, the stylistically diverse group of over 100 artists, which included Höch, Hausmann, Otto Dix, and George Grosz, held many exhibitions throughout the 1920s and encouraged the development of a new type of realism that came to be known as Neue Sachlichkeit.

A New Realism: Neue Sachlichkeit

By 1922, the painters Otto Dix and George Grosz were among those who stood out among German artists practicing the new realism. Having both participated in the beginnings of German Dadaism, each moved away from the conceptualism promoted by the Dadaists in favor of hard-hitting realism that exposed the effects of war and corruption. The German artist Käthe Kollwitz, usually associated with a version of Expressionism, was another contemporary that engaged the horrors of war and explored the humanity of the working class, but her treatment of her subjects had a compassion and mournfulness that was absent among the younger, brasher painters.

The term Neue Sachlichkeit, which is often translated as New Objectivity, was first coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, as the title for an art exhibition that was initially planned to open in 1923 but did not open until 1925. The exhibition surveyed the post-Expressionism work of various artists, including works of George Grosz, Otto Dix, Max Beckmann, Georg Schrimpf, Alexander Kanoldt, and Carlo Mense, among others. While varied stylistic approaches were still apparent, all of the artists focused on an objective view of life aimed at portraying a more "tangible reality." Another translation of Sachlichkeit is often "matter-of-factness," suggesting the focus on the commonplace and straightforward.

Cover of Gustav Hartlaub's catalogue that introduced the term Neue Sachlichkeit (1925), which garnered much press throughout Germany
Cover of Gustav Hartlaub's catalogue that introduced the term Neue Sachlichkeit (1925), which garnered much press throughout Germany

Hartlaub acknowledged the contradictions within the group, noting that the movement expressed "the enthusiasm for immediate reality as a result of a desire to take things entirely objectively, on a material basis, without investing them with ideal implications" and, yet, some tended toward a "cynicism and resignation." Given this spectrum, paintings labeled as "New Objectivity" can be hyper-realistic portraits of children or scathing caricatures of corrupt individuals.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Neue Sachlichkeit (New Objectivity) Overview Continues

The rejection of romantic and idealistic longings was well received among Weimar's intellectuals, who promoted a more "conscious" society. Hartlaub's exhibition travelled through several cities in Saxony and Thuringia, making Neue Sachlichkeit quite popular and influential. Although the second half of the decade saw the continued development of New Objectivity, the 1925 exhibition was the only contemporary public showcase associated with the movement.

An "Objective" Understanding

Germany suffered numerous casualties during World War I, and approximately a quarter of a million people died from starvation or disease in the months that followed the conclusion of the war, leaving the nation in utter devastation. Combined with a highly unstable social, economical, and political context, this led to the emergence of a socialist revolution that resulted in the establishment of the Weimar Republic in 1919.

Germany's first democracy aimed to reinvigorate and redefine the nation with a new political and economical approach; however, in the years that followed, life in the Weimar Republic was marked by a tremendous hyperinflation, especially between 1921 and 1923, making the value of the German Mark completely worthless. This economic distress defined a continued generalized climate of starvation and disease, where prostitutes, beggars, and overall degradation was predominant across the nation. With huge amounts of debts to pay, the country's situation did not seem optimistic.

While geographically dispersed across Germany and stylistically diverse, the Neue Sachlichkeit artists shared the same skeptical perception regarding Germany's direction. Deeply disillusioned, their subjects and themes echoed their concerns. Otto Dix explained that all the artists "wanted to see things quite naked, clearly, almost without art."

Concepts and Styles

The Verists

In 1922, Gustav Hartlaub had already identified two dominant approaches among the Neue Sachlichkeit artists, writing, "I see a right wing and a left wing. The former conservative to classicist... the other, left wing, harshly contemporary... the true face of our time." The left wing of the group, including Grosz and Dix, came to be called the Verists, from the Latin word Verus meaning "true," and defined a form of realism that preferred contemporary subjects with an underlying political commentary. Art historian Stefanie Gommel writes of the Verists, "In paintings that were partly caricatured exaggerations and partly shocking, their cool, razor-sharp perspectives nailed their era and the miseries of conditions during the Weimar Republic." They were unified by their aggressive, bitter, and highly critical attacks on society and power, focused on the effects of World War I and its economic impact on individuals. Developing the ongoing conception led by Dadaism that art didn't have to adhere to specific rules or languages, the Verists developed a form of "satirical hyperrealism," a term employed by Raoul Hausmann, that emphasized the ugly and the raw in a provocative way.

Other painters of the group included Conrad Felixmüller in Dresden, Rudolf Schlichter, and Christian Schad in Berlin, whose creations were so sharp they "cut beneath the skin," according to art critic Wieland Schmied, the early works of Max Beckmann, along with, Karl Hubbuch, Georg Scholz, and Wilhelm Schnarrenberger in Karlsruhe. The Verist branch also included some photographers. While primarily known as a Dadaist for his sharp criticality of Weimar Germany, John Heartfield's photomontages are an important example of this Verist trend.

The Classicists

Georg Schrimpf's Figures in a Landscape (1925) exemplifies the monumental figures that were common to the Classicists' style
Georg Schrimpf's Figures in a Landscape (1925) exemplifies the monumental figures that were common to the Classicists' style

Hartlaub's right wing, the Classicists, rooted themselves in the classical conception of art, searching for a more universal artistic language and proclaiming a "return to order" that was common during the interwar years throughout Europe. The group drew inspiration from the Italian metaphysical painters such as Carlo Carrà and Giorgio de Chirico. They developed a language that was often described as "cold" and "static" and mostly avoided the social issues that were so central to the Verists.

The classicists were mainly defined by the works of Georg Schrimpf, Alexander Kanoldt, Carlo Mense, Heinrich Maria Davringhausen, and Wilhelm Heise,

Magic Realism

In 1925 the art critic Franz Roh coined the term Magic Realism to describe the trend of Neue Sachlichkeit, but during the development of the style, the term came to describe a different stylistic approach that combined an "objective" idea of life with surreal or mysterious qualities. Overall, these works emphasized a profound technical accuracy mixed with an elusive "magical" element that seemed to grant the work a "fantastic" perspective. During this time, the works of Albert Carel Willink are a main example, especially for his use of foreign objects in architectural contexts. Other artists include the later works of Max Beckmann, Carl Hofer, and Franz Radziwill, one of its main contributors whose complex, surrealistic art was created away from the artistic centers in the coastal city of Dangast. Radziwill, like Willink, used a combination of estranged elements within reality, aiming to depict "objectivity" through a different perspective.

The term Magical Realism migrated to North and South America and came to be associated with the uncanny and realist paintings of American artists Paul Cadmus, George Tooker, and sometimes Andrew Wyeth. Mexican artists such as Frida Kahlo were also engaged a Magical Realist style. It is perhaps most often associated with the literary genre, most popular in Latin America, that was practiced by the legendary writers Gabriel Garcia Marquez and Isabelle Allende, and later the term was applied to films such as Like Water for Chocolate (1992) and the films of Terry Gilliam.

New Objectivity Photography

Aenne Biermann's Three Eggs (1928) is an example of depictions of everyday objects favored by some of the Neue Sachlichkeit photographers
Aenne Biermann's Three Eggs (1928) is an example of depictions of everyday objects favored by some of the Neue Sachlichkeit photographers

Photographers also aimed to accentuate an objective viewpoint, bringing in an unprecedented documentary aesthetic to the medium. The artists preferred subjects that depicted industry, technology, architectural spaces, and ordinary objects from daily life, such as eggs and plants. Like some of the painters, the photographers also took a keen interest in portraiture in an effort to document the realities of everyday people. In their main concern with portraying reality objectively, they tended to be associated with the Verists. Their works are characterized by the use of sharp angles, impartial perspectives, visual clarity, and order. Macro photographs were also predominant, especially in nature photography, and they often relied on serialized repetitions and ordered arrangements of objects to portray the industrial life.

Albert Renger-Patzsch's work is mostly characterized by industrial scenes and close-ups of nature, whereas August Sander, one of the most acclaimed of Germany's photographers, was known for his portraits. Hein Gorny, whose work was industrial and commercial, drawing on the tendencies spread by the Bauhaus and the Deutscher Werkbund, was also associated with the movement. Karl Blossfeldt's plant photography is also seen to be a fundamental example of the movement.

Later Developments

Neue Sachlichkeit came to an end with the rise of the Nazis and the end of the Weimar Republic in 1933. In October 1933, Wilhelm Frick, the Reich Minister of Interior, demanded "an end to the spirit of subversion" in art, adding that the "completely un-German constructs carrying on under the name of New Objectivity must come to an end." In 1937 all the group's work had been banished as a result of the Nazis campaign to clear Germany of "degenerate art," in German entartete kunst, which did not conform to the Nazi worldview and included all Modern art in general. Degenerate art was forbidden to be exhibited (except in an infamous exhibition put on by the Nazis to clarify public opinion), sold, and, in some cases, artists were forbidden to create. Some of the movement's artists, such as Max Beckman and George Grosz, fled the country, while others remained and adjusted to the new oppressive lifestyle.

Given the art historical tendency to favor the conceptualism unleashed by Dadaism, Neue Sachlichkeit fell out of favor with critics and historians, and its lack of a unified style and approach led some to dismiss the movement as secondary. Despite these attitudes, a new appreciation for New Objectivity as a movement began in the 1960s. This was mainly derived from Photorealism and Critical Realism movements that found great inspiration in New Objectivity. The movement thus experienced a "revival" in Germany, influencing important artists such as Sigmar Polke and his Capitalist realism ideas.

It can also be seen to be a main influence in the works of contemporary realistic photographers, such as the German husband and wife photographers Bernd and Hilla Becher, founders of the Dusseldorf School, who taught Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth.

If you see an error or typo, please:
tell us
Cite this page

Content compiled and written by Sarah Frances Dias

Edited and published by The Art Story Contributors

" Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Sarah Frances Dias
Edited and published by The Art Story Contributors
Available from:
[Accessed ]

By submitting the above you agree to The Art Story privacy policy.

Useful Resources on Neue Sachlichkeit (New Objectivity)





The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
New Objectivity: Modern German Art in the Weimar Republic 1919-1933 Recomended resource

By Stephanie Barron and Sabine Eckmann (editors)

German Post-Expressionism: The Art of the Great Disorder, 1918-1924

By Dennis Crocket

New Objectivity Recomended resource

By Sergiusz Michalski

Neue Sachlichkeit and German Realism of the Twenties. Recomended resource

By Wieland Schmied

More Interesting Books about Neue Sachlichkeit (New Objectivity)
New Objectivity: Modern German Art in the Weimar Republic 1919-1933 Recomended resource

LACMA museum
Exhibition description

The Art of War: Otto Dix's Der Krieg [War] cycle 1924

By Mark Henshaw
Exhibition Catalogue Description

'New Objectivity' and 'Max Beckmann: The Still Lifes' Recomended resource

By Edward Sorel
New York Times
June 25, 2015

Expressionism and the New Objectivity

By Rosemarie Haag Bletter
Taylor & Francis Online
August 2, 2014

More Interesting Articles about Neue Sachlichkeit (New Objectivity)
Did we succeed in explaining the art to you?
If Yes, please tell others about us: