Art of the 1920s: Chemnitz exhibition shows new perspectives

Art of the 1920s: Chemnitz exhibition shows new perspectives

Chemnitz, Deutschland - The "New objectivity" has triggered exciting rediscovery in the art scene, and the Gunzenhauser Museum in Chemnitz is an absolute attraction for all art lovers: inside. This movement, which arose after the First World War, represents a clear break with the previous Expressionism and is considered a return to order in painting. In his influential study "Magical Realism. Problems of Latest Painting", the art historian Franz Roh already stated in 1925 that the time after 1918 was characterized by a need for a more structured expression.

raw referred to the influence of a large number of social and political changes, including strengthening democracy and obtaining women's voting in Europe as well as the energy that was released by the October Revolution in Russia. This time was not only political, but also culturally shaped by a strong urge after renewal and profound reflections on human existence.

The exhibition "European Realities"

in Chemnitz the exhibition "European realities. Realism movements of the 1920s and 1930s in Europe" , in which curator Anja Richter has compiled impressive 300 works of 190 artists: inside from 20 different countries. This exhibition tries to record and present the deep and diverse currents of the New objectivity and magical realism. Country -specific characteristics in favor of universal topics such as portrait, still life, nightlife and social work are moved into the background.

The diversity is impressive: from well -known works of art such as "self -portrait as Warner" by George Grosz (1927) to less known pieces such as "Epoche" by Lotte B. Prechner (1928), which had to flee to Belgium in front of the Nazis. Such works tell stories that always remain up to date and encourage the viewer to think. Exotic ornamental plants in still life or the work "Charity Bazaar" (1927) by Milada Marešová, which shows a hidden object with prominent personalities of that time, are part of this fascinating story.

A look at the development of the new objectivity

The "new objectivity" shows many facets, and in the context of the early 20th century, a political left -wing current came to light. Artists like George Grosz and Otto Dix showed grotesque, cariconal representations of life that pointed out the social abuses of the 1920s.

This works not only documented social reality, but also criticized sharply. On the other hand, there are artists like Georg Schrimpf and Alexander Kanoldt, who found a classicist-idealizing style to express a longing for idylls in the Weimar Republic. Their nature -related, cubistically shaped works convey a feeling of desire for a better world.

These art -historical currents are urgently discussed in the exhibition "European Realities". During this time, Paris was a central place for many artists: inside, from Eastern Europe and Scandinavia who were looking for new forms of expression. It is an excellent example of how the "new objectivity" also created connections across national borders and cover different cultural contexts.

At a time when culture and art face new challenges, the exhibition in Chemnitz not only offers a look back at the past, but also stimulates the discussion about the present and future of art - an occasion that is good for all art lovers: inside!