Neue Sachlichkeit

Ubu Gallery presented an exhibition of paintings, drawings, photographs and prints, which explored a movement that, while defining an era, still defies definition. “Neue Sachlichkeit” or “New Objectivity” can be seen as a return to “realist” traditions provoked by the subjectivity of Expressionism and emotional emptiness of non-representational movements, which led to disenchantment in artists’ circles throughout Germany and its satellites during the height of the Weimar era. Emerging primarily in provincial cities during the turbulent years that followed World War I, New Objectivity sought clarity and definition through “matter-of-fact” observation of material reality. The movement’s aim was straightforward, but the lack of a cohesive ideology or specific aesthetic confounds any precise characterization of Neue Sachlichkeit. Ubu’s exhibition presented works from the many groups associated with Neue Sachlichkeit, including the “Cologne Progressives,” the “Hannover Realists,” and the “Young Rhineland” so as to address the full measure of its tendencies.

Pressetext

Neue Sachlichkeit
New Objectivity in Weimar Germany

Künstler: Max Beckmann, Hans Bellmer, Karl Blossfeldt, Gottfried Brockmann, Heinrich Maria Davringhausen, Rudolf Dischinger, Otto Dix, Ernst Fritsch, Carl Grossberg, George Grosz, August Heitmüller, Heinrich Hoerle, Karl Holtz, Karl Hubbuch, Hanns Kralik, Franz Lenk, Jeanne Mammen, Otto Möller, Ernest Neuschul, Gerta Overbeck-Schenk, Herbert Ploberger, Max Radler, Franz Radziwill, Anton Räderscheidt, Albert Renger-Patzsch, August Sander, Christian Schad, Rudolf Schlichter, Georg Scholz, Franz Wilhelm Seiwert, Eddy Smith, Niklaus Stoecklin, Max Unold, Bruno Voigt, Karl Völker, Nicolai Wassilieff, Erich Wegner, Kurt Weinhold