Keywords:
New Objectivity, art of the Weimar Republic, German art of the 20th century, reception of the classics, classical heritage, retrospectivism, semiotic property, self-identification, tradition, painting, portrait, iconography
To cite this article
Koroleva A.Yu.
Reception of the Classics in the New Objectivity Art. // Theory and History of Art.
2023.
N 1/2,
p.214–229
The article deals with the phenomenon of the perception by the artists of the Weimar Republic of the classical heritage of the masters of previous centures. The reader is offered an attempt to comprehend the semiotic properties of the concept of "classical" and the attitude towards it on the part of German painters of the interwar era. The author substantiates the relevance of this issue from the perspective of state policy and the specifics of modern scientific interests.
The article considers the works of artists of different directions within the realist art of the 1920–1930s, verists (O. Dix, G. Gross, K. Hubbuch, G. Scholz, R. Schlichter, M. Beckmann) and neoclassicists (K. Schad, W. Peiner, E. Rüter-Rabinovitsch), taking into account their avant-garde past and "degenerate" future. In the course of reviewing the artistic material, several levels of appeal to the heritage of old masters were revealed, from imitation of the form of a medieval altar painting — a triptych, a complex semantic interpretation of meanings, to direct quotation, from sharp satire on modern society to exquisite humor directed at ourselves.
In conclusion, the author notes the paradox that, studying the works of artists of the new objectivity and those samples, the interpretation of which was the basis of many of the iconic works of the era, it turns out that in her eyes the concept of exemplary is related mainly to those periods of world art (Northern Renaissance, Romanticism, impressionism), which classical art history interprets as non-classical.
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