Sober visual language, new perspectives: photographer and painter of the Weimar Republic pursued similar goals, and learned from each other. An Exhibition in Hamburg shows the interrelationship of the two art forms.
They had seen the Horror of the First world war, and the changed for artists such as Otto Dix, Rudolf Schlichter and Georg Scholz, everything. “It’s the things to see how they are,” Dix summarized his claim to the own art at the time of the Weimar Republic (1918-1933). The Era of expressionism was over, now the New objectivity came. Characteristic of their works a realistic, true-to-detail reproduction of the reality with strict image-building and more precisely, to the painting of the Old masters-oriented technology.
Very similar to the objectives of the photographers of that time persecuted. Their work is summarized under the term “New Look”. “The essence of the whole of the Photography is of a documentary nature”, the rewriting of August Sander, his work considers. In his work “people of the 20th century. Century,” he said in the 20s, several Hundred portraits of people of different strata and occupational groups, and a comprehensive company which created the image of his time.
“Glasses” by Hannah Höch (1927)
“Who all know each other”
His colleague, Albert Renger-Patzsch (the article’s picture: “glasses”, 1928) photographed industrial landscapes and items of mass production for advertising into the picture. “We leave the art to the artists and we are trying to create with the resources of the photography photographs that can pass through their photographic qualities,” he wrote later in his book, “in praise of the Rheingau”.
The New See the exhibition “world in transition. Art of the 20s” in Hamburg’s Bucerius Kunst Forum, now the paintings, drawings and collages by the New objectivity, with works by Otto Dix, Rudolf Schlichter, Hannah Höch and Georg Scholz.
“Portrait of the jeweler Karl Krall” by Otto Dix
A connection that is close, for painters and photographers worked together at the time, frequently, exchanged views, took the ideas of others for their work or working together: “they knew all each other. It was a great community,” explains Kathrin tree strong, curator of the exhibition, in the DW-interview. Such as Otto Dix and photographer Hugo Erfurth. The two forged a close friendship that in their works reflected. Erfurth photographed Dix, and Dix, in turn, portraits of Erfurth.
The idea to combine photography and painting in a Show that is not new, has not been implemented already for a long time, tells Kathrin tree: “in the middle of the 20-years of photography and painting were to be seen often in exhibitions. Then it’s no more.” The Show up now.
The Exhibition “world in transition. Art of the 20s” is created in cooperation with the Munich city Museum, and until the 19th century. To see may in Hamburg’s Bucerius Kunst Forum.