Neue Sachlichkeit is thought by many to have too many diverse elements to be a unified movement. Originally divided by G.F. Hartlaub into two ‘wings’, Neue Sachlichkeit has since been broken down by critics into more groups, sometimes with opposing styles or regional influences. However, the importance of these divisions has rarely been explored in depth. Unlike previous surveys, which accept Neue Sachlichkeit as a divided entity, this book shows for the first time that in spite of its divisions, it may still be regarded as a unified, coherent movement.   While different artists may have sought to express different specific concerns, what they all had in common was that they were uncomfortable with the world as it stood, and it is the way that this was expressed, making use of the object, that gave Neue Sachlichkeit its unity. This was just as true of the literature and photography of Neue Sachlichkeit, where the same themes as those found in the painting were frequently used. The fact that these are shared themes across different cultural media demonstrates that Neue Sachlichkeit reflected a mood of its time, and this book explores the ways in which this mood was expressed.    Contents  Illustrations  Abbreviations  Acknowledgements  1. Introduction  2. Art of its Time. The Great War and the Weimar Republic  3. Neue Sachlichkeit Defined?  4. A Theoretical Approach  5. A Thematic Approach  6. The New Photography  7. Neue Sachlichkeit Literature  8. Neue Sachlichkeit, Modern Art, and National Socialism  9. Conclusion  Bibliography  Index

Neue Sachlichkeit 1918-33: Unity and Diversity of an Art Movement (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 104)

Neue Sachlichkeit 1918-33: Unity and Diversity of an Art Movement (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 104) PDF

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