Sunday, April 11, 2010


Dix's work are just awesome from beginning to end.In many of the portraits I noticed that his subjects are depicted with animal like qualities from the rat like lawyer Fritz Glaser to the cat like female "Reclining Woman on a Leopard skin". Maybe his exposure to gruesome human death during his early years left him void of human feelings. His subjects, seen through his steely eyes come across as skin and bones that can be discarded on a whim.They are passive, powerless and sallow-faced people unsure of their future. They do not try to catch our eye but look wonder to something that we cannot see and leave us with the haunting feeling the end is near for them.
Skip the lovely located yet overpriced café at the museum with the poor service bland Austrian/German cuisine.
Exhibitions Exhibition Images OTTO DIX
March 11-August 30, 2010

This spring, Neue Galerie New York presents “Otto Dix,” the first solo museum exhibition of works by this major German artist ever held in North America. Organized by Olaf Peters, Professor of Modern Art History and Art Theory at the Martin-Luther-University Halle-Wittenberg, the show will open at the Neue Galerie, then travel to the Montreal Museum of Fine Arts.

More than almost any other German painter, Otto Dix (1891-1969) and his works have profoundly influenced the popular notion of the Weimar Republic. His paintings were among the most graphic visual representatives of  that period, exposing with unsparing and wicked wit the instability and contradictions of the time.

The exhibition includes more than 100 masterpieces by Otto Dix, and addresses four themes. The first is Dix’s traumatic experiences as a soldier in World War I. The second is portraiture, a genre at which the artist excelled. The third is sexuality, a key theme in the Dix oeuvre. The fourth is religious and allegorical painting. The show includes the work that Dix is best know for—paintings from the so-called “golden Weimar years”—but to contextualize them, it also includes Dix’s work from the early 1920s, as well as his later work, produced as veiled protest against the Third Reich.

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