The New Objectivity (Neue Sachlichkeit) emerged as a style in Germany in the 1920s as a challenge to Expressionism. It offered a return to unsentimental reality and a focus on the objective world, as opposed to the more abstract, romantic, or idealistic tendencies of Expressionism. The style is most often associated with portraiture, and its leading practitioners included Max Beckmann, Otto Dix, and George Grosz.
Kate (Käte) Hoch (1873-1933)
“She was an exponent of ‘Neue Sachlichkeit’ or ‘New Objectivity’ tendency that emerged during the years of the Weimar Republic in Germany. After the destruction caused by the First World War, many artists began to closely and critically re-examine their surroundings. Rejecting what they saw as the distortions and irrationality of Expressionism, the ‘New Objectivity’ that Gustav Friedrich Hartlaub outlined in his era-defining exhibition of 1925 involved an unsentimental approach to subject matter, the elimination of all painterly or expressive brushwork and a conscious and clear-minded return to the object and objective reality. It was, as he wrote, the ‘discovery of things after the crisis of the ego‘ (G. F. Hartlaub, Neue Sachlichkeit, exh. cat., Mannheim, 1925).
* Excerpts quoted from Christie’s London, King Street. Auction catalogue February 8, 2012, lot 472.
Introducing Viktor Rebernak
Both in his shoe paintings and in ‘Estate I’ Viktor Rebernak expounds the divorce of self in favour of an objective approach to his subject. Devoid of a personal identity his paintings leave us questioning his choice of motif but surely isn’t or shouldn’t that be the nature of breaking ‘ART’? We are not sure how to react – the tangible becomes intangible, the mirror turns back on itself and we are left looking inward rather than outward.
WE WISH YOU ALL A HAPPY AND PROSPEROUS NEW YEAR!