Description
The chart is an interactive lineage map. New Objectivity sits at the center, on a timeline that runs from older movements at the top to newer ones at the bottom. The movements that influenced it appear above it, any parallel movements it developed alongside sit on its own row, and the movements it later influenced appear below. Every line is a real, cited connection between two movements: a solid line is an influence historians broadly agree on, and a dashed line is an indirect, parallel, or contested link.
For New Objectivity (1920s – 1933), it traces one movement that shaped it, a well-established link: Expressionism; it runs alongside one parallel movement, a well-established link: Magic realism.
The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. As these artists - who included Max Beckmann, Otto Dix, Adolf Dietrich, George Grosz, Christian Schad, Rudolf Schlichter, Georg Scholz and Jeanne Mammen - rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism. Read more ↗
