DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.63099#0015
romanticism, which makes them so impressive. Brutal they are, but
imbued with the artist’s grief and mourning about the horrors and
lowest depth of mankind and through this emotional element they
are lifted above mere reality. Actually there are in many of his
paintings symbolical elements, accessories which testify to the imagi-
native in the artist’s conception. In his portraits he unveils the inner
being of his models, the hidden nature of a person or class in a
manner that gives them the stamp of a vision. His skill enables him
to remove the trappings from the seemingly smooth and smiling face
of society. Social misery, hypocrisy in all matters of sex, the abused
right of the strongest, the horrors of war are the themes of these
paintings, comprising seven years of the artist’s development. The
large canvas entitled “War”, which had to be removed from the
modern section of the museum in Cologne on behalf of municipal
authorities, depicts the atrocities of Jthe battle-field with gripping
power. Blood and wounds and mutilated bodies—the “Desastros
della Giierra”—in a modern version, moving and terrible mene-
tekel for the present generation. But the same brush also gives with
loving care the soft lines of a child’s face or the slender grace and
beauty of flowers and blossoms and again the wearied expression in
an old lady’s likeness. Perhaps such a sharply observing mind is
more that of a draughtsman than of a painter, in fact I do not
like his colors as much as I appreciate the intensity that fills every
line of these canvases, giving them significance and force.
EL PINTOR OTTO DIX
AUS EINER S P A N I S C H E N Z E I T S C H R I F T
Dix es uno de los conductores del Nuevo Objetivismo en Alemania.
Entre nosotros no se sabe mucho en realidad, de las corrientes en
la pintura moderna alemana. Un sentimiento fundado en el
parentesco de razas nos inclina al arte francés. A consecuencia de
ello, hemos perdido la serenidad, para ver que los movimientos
artísticos de nuestro tiempo, no arraigan tanto en los desarrollos
nacionales como, en una unidad espiritual, europea, por lo
menos.
13
imbued with the artist’s grief and mourning about the horrors and
lowest depth of mankind and through this emotional element they
are lifted above mere reality. Actually there are in many of his
paintings symbolical elements, accessories which testify to the imagi-
native in the artist’s conception. In his portraits he unveils the inner
being of his models, the hidden nature of a person or class in a
manner that gives them the stamp of a vision. His skill enables him
to remove the trappings from the seemingly smooth and smiling face
of society. Social misery, hypocrisy in all matters of sex, the abused
right of the strongest, the horrors of war are the themes of these
paintings, comprising seven years of the artist’s development. The
large canvas entitled “War”, which had to be removed from the
modern section of the museum in Cologne on behalf of municipal
authorities, depicts the atrocities of Jthe battle-field with gripping
power. Blood and wounds and mutilated bodies—the “Desastros
della Giierra”—in a modern version, moving and terrible mene-
tekel for the present generation. But the same brush also gives with
loving care the soft lines of a child’s face or the slender grace and
beauty of flowers and blossoms and again the wearied expression in
an old lady’s likeness. Perhaps such a sharply observing mind is
more that of a draughtsman than of a painter, in fact I do not
like his colors as much as I appreciate the intensity that fills every
line of these canvases, giving them significance and force.
EL PINTOR OTTO DIX
AUS EINER S P A N I S C H E N Z E I T S C H R I F T
Dix es uno de los conductores del Nuevo Objetivismo en Alemania.
Entre nosotros no se sabe mucho en realidad, de las corrientes en
la pintura moderna alemana. Un sentimiento fundado en el
parentesco de razas nos inclina al arte francés. A consecuencia de
ello, hemos perdido la serenidad, para ver que los movimientos
artísticos de nuestro tiempo, no arraigan tanto en los desarrollos
nacionales como, en una unidad espiritual, europea, por lo
menos.
13