COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0019309
image_record_id
aahi0019309
Image Record ID
false
Work Title (display):
War Cripples
Work Title (variant):
Kriegskrüppel
Image Title:
full view
Work Description:
from the portfolio 6 dry-point etchings (6 Kaltnadelradierungen) (Splendor and Misery in the Weimar Republic 29)
Work Dates (display):
1920
Work Dates type:
creation
Work Creator (display):
Otto Dix (German, 1891-1969)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
German painter and printmaker. Dix was born at Untermhaus, Thuringia, and was apprenticed to an interior decorator (19059) before studying at the Dresden School of Arts and Crafts 190914. At Dresden he absorbed the work of the Expressionists and was particularly influenced by van Gogh. From 1914 to 1918 he served in the First World War; initially enthusiastic, he was soon sickened by the horror and violence which he recorded in dramatic oil paintings, full of movement and violence, which incorporated the techniques of Futurism. After the war he studied at the Academies of Dresden (191822) and Düsseldorf (19225) gradually moving from Dadaism towards the greater realism exemplified by the Neue Sachlichkeit, although his work can hardly be described as objective. He remained deeply scarred by his wartime experiences and disillusioned by post-war society; Der Krieg (The War), a series of 50 etchings, published in 1924, has a Goyaesque intensity and his paintings of crippled war veterans, like Die Skatspieler (1920; Berlin, Neue Nationalgal.), have a crude and compelling immediacy. Prostitutes, another recurrent theme in the 1920s, are used almost allegorically as a symbol of a decadent corrupt society and, usually obese or emaciated, are cruelly shocking moralities. From 1927 Dix taught at the Dresden Academy and also established a reputation for his idiosyncratic unflattering portraits; but in 1933 he was dismissed by the Nazis and in 1934 forbidden to exhibit. After the Second World War, in which he was briefly conscripted, he lived in Hemmenhofen, on the Bodensee, where he was inspired by the Alpine landscape to turn to German Renaissance masters, like Dürer and Altdorfer, as prototypes for mannered allegorical and spiritual paintings which, despite their ambition, remain essentially vapid. (Grove Art Online accessed 2007-10-27)
Work Worktype:
etchings (prints)
work_type
etchings (prints)
Work Worktype
false
Work Worktype:
prints (visual works)
work_type
prints (visual works)
Work Worktype
false
Work Worktype:
drypoints (prints)
work_type
drypoints (prints)
Work Worktype
false
Work Category (VRC classification):
prints
work_category__ucbaahvrc_classification_
prints
Work Category (VRC classification)
false
Work Material and Technique (display):
Dry-point etching
Work Measurements (display):
24.5 cm (H) x 39.6 cm (W)
Work Location (Repository or Site) name:
Staatliche Museen zu Berlin
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Berlin, Germany
Work Location (Geographic) role:
repositoryLocation
Image Source Reproduction citation:
Pfeiffer, Ingrid, editor. Splendor and Misery in the Weimar Republic. Schirn Kunsthalle Frankfurt, 2017.
image_source_copy_from_print_name
Pfeiffer, Ingrid, editor. Splendor and Misery in the Weimar Republic. Schirn Kunsthalle Frankfurt, 2017.
Image Source Reproduction citation
false
Image Source Reproduction refid:
978-3-7774-2933-5
Image Source Reproduction page number:
47
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© bpk/Kupferstichkabinett, SMB
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Otto Dix
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Holding Institution:
University of Colorado Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
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