- New Objectivity: Modern German Art in the Weimar Republic 1919-1933Our PickBy Stephanie Barron and Sabine Eckmann (editors) / 2015
- German Post-Expressionism: The Art of the Great Disorder, 1918-1924By Dennis Crocket
- New ObjectivityOur PickBy Sergiusz Michalski / 1978
- Neue Sachlichkeit and German Realism of the Twenties.Our PickBy Wieland Schmied / 1994
- World War I and the Weimar Artists: Dix, Grosz, Beckmann, SchlemmerOur PickBy Matthias Eberle
Important Art and Artists of Neue Sachlichkeit (New Objectivity)
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.
The painting depicts two bare-chested ladies dancing on a stage, with classical musicians in full tuxedoes playing behind them. Men in suits and official uniforms casually observe the scene. Painted just after the war, Schlichter provides a glimpse into the popular musical cabarets, with their suggestive female performers, that were so popular at the time.
These cabarets were known to be places where drugs and sex were in abundant supply. In normalizing the dancers, likely also prostitutes, the painting acts as a criticism and satirical analysis of society's decadence, a main theme of the New Objectivity movement. Schlichter's use of bright colors, his caricature-like portrayal of the men, and the awkwardness of the women underscore that the Neue Sachlichkeit artists were not interested in meticulously representing the details of what they saw but exposing the underlying truth of the current reality, which they saw as corrupt and bankrupt.
The subject of the cabaret went on to enjoy a life in popular culture, including the 1951 musical Cabaret, and the later film adaptation in 1972 that featured Liza Minelli. These depictions, however, were largely nostalgic and not quite as searing.
One of some 80 portraits painted over his life, here Max Beckmann presents himself in a suit and tie, holding a cigarette, seated before an ochre-colored wall. Perhaps more than the other Neue Sachlichkeit artists, Beckmann probed himself and his inner life in numerous self-portraits. Although he is often known for his "expressionist" language, he rejected the term, the movement, and their artistic ideas altogether. His time as an army medic led to a nervous breakdown, and the misery he witnessed during the war was reflected in his painting style. As critic Edward Sorel explained, "The brutality that they endured or witnessed scarred their psyches and darkened their outlook forever."
During this time, Beckmann frequented the house of Dr. Heinrich Simon, the editor-in-chief of the newspaper Frankfurter Zeitung, and another frequent guest recalled Beckmann during these meetings, "Nothing about him betrayed that he was an artist, but one sensed that in this circle of important men sat one who surpassed them all in concentrated power. His angular head was set on a short neck on his solidly built, athletic body. His face was hard, his profile sharp... not unlike a military inspector... He wore clothes that were too tight and looked like a workman in his Sunday best....His disdain for people was considerable. But under his prickly shell he concealed a highly vulnerable sensitivity, one that he sometimes mockingly exposed." In this particular portrait, Beckman holds a saffron-colored, red polka-dotted scarf on his lap, which references the costume of a clown, a common subject in Beckmann's painting, and thus undermines, or mocks, the dominance he transmitted. Beckmann was not above probing and criticizing his own self as he did other subjects.