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In the early 20th century one realized an influential stream of art everywhere in Europe. It was an endeavour to develop a new form of artistic expression. We can see its experiment in Cubism, Constructionism and Abstractism. But in a full different way from the above mentioned style there was a artistic movement to try to reflect the realities of the society through its activities. We can call it the German artistic movement “Neue Sachlichkeit”. The artists of “Neue Sachlichkeit” observed the political situation of their society and strongly criticized the responsible leading groups with their works that described the sufferings during the time of after the World War I.
The art history indicates that art of form-building and real life have been perceived as a separate thing. The German artists of “Neue Sachlichkeit” tried to find connections between two things. They accepted the negative side of life as a positive object of their art. The movement was originated an exhibition which Dr. G.F. Hartlaub, director of Mannheim municipal museum, had organized with 124 works of 32 young German artists in 1925. They were endeavouring to give new realities form that was clearly differentiated from expressionists. They consisted of two group of artists. Director Hartlaub called one as ‘the leftists’ and the other as ‘the rightists’. The leftists made works in order to criticize the social and political realities, while the rightists had been influenced by classicism since manifestation of ‘Pittura Metaflsica’. Dr. Hartlaub planned an exhibition to view all sorts of new realistic form of expression since the end of the World War I. But the unexpected succession gave a motive to be acknowledged as a style in the end of 1920s. Between the leftists and rightists there were lots of conceptual disorder. It seems that artists of soical critical realism sorted as leftists should be accepted as ‘Neue Sachlichkeit’ wie Wieland Schmied suggested. As the National Socialists of Germany came to the state power, the artists of ‘Neue Sachlichkeit’ was politically and phisically suppressed by Nazi-regime and the movement met its end. The ideas of German social critical artists that confronted the social realities and sought the positive development have been effective through the 20th century. Todays we can see their spirit of art to have a sharp eye to social conflicts and problems continuously happened in the every comer of the world. We can acknowledge that art of ‘Neue Sachlichkeit’ has greatly influenced on the social critical realism in general.
We could confirm the three peculiar reactions of the ‘Neue Sachlichkeit’ : Firstly the reaction of sarcastic critic like G. Grosz, secondly the nihilistic reaction like O. Dix and thirdly the reaction of cool observer like Chr. Schad.
There were the important works of those artists, which made their typical reations dear. Their attitude toward social unjustice was undoubtful. But in my opinion the ages of the artists played a certain role. For example G. Grosz created no more extreme social critical works, since he drew a selfportrait as Warner(1926). O.Dix expressed his feeling in memory that though he was so pessimistic he loved the pain so much at that time. Chr. Schad almost concentrated his mind on the old masterlike (Sakral Bilder) since 1930s. Through this study the author could come to a conclusion that the social critical art continues its form despite the changing generations of artists and the changing of objects.
The art history indicates that art of form-building and real life have been perceived as a separate thing. The German artists of “Neue Sachlichkeit” tried to find connections between two things. They accepted the negative side of life as a positive object of their art. The movement was originated an exhibition which Dr. G.F. Hartlaub, director of Mannheim municipal museum, had organized with 124 works of 32 young German artists in 1925. They were endeavouring to give new realities form that was clearly differentiated from expressionists. They consisted of two group of artists. Director Hartlaub called one as ‘the leftists’ and the other as ‘the rightists’. The leftists made works in order to criticize the social and political realities, while the rightists had been influenced by classicism since manifestation of ‘Pittura Metaflsica’. Dr. Hartlaub planned an exhibition to view all sorts of new realistic form of expression since the end of the World War I. But the unexpected succession gave a motive to be acknowledged as a style in the end of 1920s. Between the leftists and rightists there were lots of conceptual disorder. It seems that artists of soical critical realism sorted as leftists should be accepted as ‘Neue Sachlichkeit’ wie Wieland Schmied suggested. As the National Socialists of Germany came to the state power, the artists of ‘Neue Sachlichkeit’ was politically and phisically suppressed by Nazi-regime and the movement met its end. The ideas of German social critical artists that confronted the social realities and sought the positive development have been effective through the 20th century. Todays we can see their spirit of art to have a sharp eye to social conflicts and problems continuously happened in the every comer of the world. We can acknowledge that art of ‘Neue Sachlichkeit’ has greatly influenced on the social critical realism in general.
We could confirm the three peculiar reactions of the ‘Neue Sachlichkeit’ : Firstly the reaction of sarcastic critic like G. Grosz, secondly the nihilistic reaction like O. Dix and thirdly the reaction of cool observer like Chr. Schad.
There were the important works of those artists, which made their typical reations dear. Their attitude toward social unjustice was undoubtful. But in my opinion the ages of the artists played a certain role. For example G. Grosz created no more extreme social critical works, since he drew a selfportrait as Warner(1926). O.Dix expressed his feeling in memory that though he was so pessimistic he loved the pain so much at that time. Chr. Schad almost concentrated his mind on the old masterlike (Sakral Bilder) since 1930s. Through this study the author could come to a conclusion that the social critical art continues its form despite the changing generations of artists and the changing of objects.
목차
들어가면서
Ⅰ. 독일의 1920년대 사회비판적 사실주의 ‘신즉물주의(Neue Sachlichkeit)‘의 역사적 배경
Ⅱ. 신즉물주의의 성립과 하르트라웁(G.F. Hartlaub)의 역할
Ⅲ. 신즉물주의 대표적 세 작가들의 사회 현실에 대한 다양한 반응들
Ⅳ. 1920년대 신즉물주의, 그 이후
맺으면서
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Abstract
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