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286
-
Classical Modernism New Objectivity
Dix, Otto
Reclining Woma…
See original version (German)
286
-
Classical Modernism New Objectivity
Dix, Otto
Reclining Woma…
See original version (German)
Estimate €4,000 - €5,000
Voluntary lot
Description
Classical Modernism
New Objectivity
Dix, Otto
Reclining Woman. 1932. Charcoal drawing on sturdy Schöllerhammer vellum (with dry stamp). 51 x 73 cm. Signed. Mounted in places on backing. - The right-hand edge of the sheet is slightly creased and has a small, professionally repaired tear. Overall in very good condition.
Provenance: Otto Dix Foundation, Vaduz. - Lorenz NSk 11.3.3. - Created in 1932, this charcoal drawing, with its motif of a female nude, reflects the tension between classical pictorial tradition and unflinching immediacy, which plays a central role in Otto Dix’s work. In the early 1930s, Dix increasingly turned away from the social criticism of New Objectivity and drew inspiration from the models of Old German and Flemish painting, a shift evident, amongst other things, in the confident line work aimed at achieving a painterly effect. In doing so, he draws on the iconographic tradition of the Old Masters, such as Girgione’s ‘Sleeping Venus’ or Manet’s ‘Olympia’, which he translates into his own immediate visual language.
New Objectivity. – Charcoal drawing on sturdy Schöllerhammer vellum (with dry stamp). Signed. – The right-hand edge of the sheet is slightly creased and has a small tear that has been expertly repaired. Overall in very good condition. – Provenance: Otto Dix Foundation, Vaduz. - Lorenz NSk 11.3.3. - Created in 1932, this charcoal drawing, depicting a female nude, reflects the tension between classical pictorial tradition and unflinching immediacy, a tension that plays a central role in Otto Dix’s work. In the early 1930s, Dix increasingly turned away from the social criticism of New Objectivity and drew inspiration from the models of Old German and Flemish painting, a shift evident, amongst other things, in the confident line work aimed at achieving a painterly effect. In doing so, he draws on the iconographic tradition of the Old Masters, such as Girgione’s ‘Sleeping Venus’ or Manet’s ‘Olympia’, which he translates into his own immediate visual language.
See original version (German)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
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