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OTTO DIX (Untermhaus, near Gera, Germany, 1891-Singen (Hohentwiel), 1969)."Portrait of Ursus",
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Description
OTTO DIX (Untermhaus, near Gera, Germany, 1891-Singen (Hohentwiel), 1969).
"Portrait of Ursus", 1927.
Pencil and sanguine drawing on paper.
Signed and dated in the lower margin.
Size: 31 x 37 cm.
A representative of the New Objectivity and German Expressionism, Otto Dix became popular for his paintings of war painted during the First World War, a war in which he enlisted as a volunteer. Notable works from this period include Artillery (1914, Kunstmuseum, Düsseldorf) and The War (1929-1930, Dresden Museum), The Trench (Schützengraben 1921-1923) and the series of 50 etchings entitled War (1924). His output includes 500 sketches and various portraits, as well as canvases and watercolours evoking the Renaissance period. Otto Dix trained at the School of Decorative Arts in Dresden, where he remained until 1914. After the war he returned to Dresden, where he studied at the Academy of Fine Arts and worked as an independent artist, forming part of the Dresdner Sezession Gruppe from 1919, while participating in group exhibitions throughout Germany. He subsequently became a leading figure in the New Objectivity movement, with works that evinced his revulsion at the social injustice of post-war Germany. The acid colours of his compositions attest to this. From 1927 to 1933 Dix taught at the Dresden Academy until 1937, when he was dismissed by the Nazis, who included him in their Entartete Kunst (Degenerate Art) exhibition. Some of his paintings were burnt. From 1930 onwards his works show a period in which he stylistically approached both Lucas Cranach the Elder, Albrecht Dürer and Matthias Grünewald and Expressionist forms. In 1939 he was arrested and falsely accused of being involved in a plot against Adolf Hitler, but was later released. Without leaving Germany, he retired to Hemmenhofen on Lake Constance, where he devoted himself to landscape painting and depicting religious themes in a style close to that of Albrecht Altdorfer. He is currently represented in the Museo Thyssen Bornemisza, the Fundación Juan March, the Kunstmuseum in Düsseldorf, the Dresden Museum, the Schützengraben and the Bern Art Museum, among many other institutions worldwide.
"Portrait of Ursus", 1927.
Pencil and sanguine drawing on paper.
Signed and dated in the lower margin.
Size: 31 x 37 cm.
A representative of the New Objectivity and German Expressionism, Otto Dix became popular for his paintings of war painted during the First World War, a war in which he enlisted as a volunteer. Notable works from this period include Artillery (1914, Kunstmuseum, Düsseldorf) and The War (1929-1930, Dresden Museum), The Trench (Schützengraben 1921-1923) and the series of 50 etchings entitled War (1924). His output includes 500 sketches and various portraits, as well as canvases and watercolours evoking the Renaissance period. Otto Dix trained at the School of Decorative Arts in Dresden, where he remained until 1914. After the war he returned to Dresden, where he studied at the Academy of Fine Arts and worked as an independent artist, forming part of the Dresdner Sezession Gruppe from 1919, while participating in group exhibitions throughout Germany. He subsequently became a leading figure in the New Objectivity movement, with works that evinced his revulsion at the social injustice of post-war Germany. The acid colours of his compositions attest to this. From 1927 to 1933 Dix taught at the Dresden Academy until 1937, when he was dismissed by the Nazis, who included him in their Entartete Kunst (Degenerate Art) exhibition. Some of his paintings were burnt. From 1930 onwards his works show a period in which he stylistically approached both Lucas Cranach the Elder, Albrecht Dürer and Matthias Grünewald and Expressionist forms. In 1939 he was arrested and falsely accused of being involved in a plot against Adolf Hitler, but was later released. Without leaving Germany, he retired to Hemmenhofen on Lake Constance, where he devoted himself to landscape painting and depicting religious themes in a style close to that of Albrecht Altdorfer. He is currently represented in the Museo Thyssen Bornemisza, the Fundación Juan March, the Kunstmuseum in Düsseldorf, the Dresden Museum, the Schützengraben and the Bern Art Museum, among many other institutions worldwide.
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OTTO DIX (Untermhaus, near Gera, Germany, 1891-Singen (Hohentwiel), 1969).
"Portrait of Ursus", 1927.
Pencil and sanguine drawing on paper.
Signed and dated in the lower margin.
Size: 31 x 37 cm.
A representative of the New Objectivity and German Expressionism, Otto Dix became popular for his paintings of war painted during the First World War, a war in which he enlisted as a volunteer. Notable works from this period include Artillery (1914, Kunstmuseum, Düsseldorf) and The War (1929-1930, Dresden Museum), The Trench (Schützengraben 1921-1923) and the series of 50 etchings entitled War (1924). His output includes 500 sketches and various portraits, as well as canvases and watercolours evoking the Renaissance period. Otto Dix trained at the School of Decorative Arts in Dresden, where he remained until 1914. After the war he returned to Dresden, where he studied at the Academy of Fine Arts and worked as an independent artist, forming part of the Dresdner Sezession Gruppe from 1919, while participating in group exhibitions throughout Germany. He subsequently became a leading figure in the New Objectivity movement, with works that evinced his revulsion at the social injustice of post-war Germany. The acid colours of his compositions attest to this. From 1927 to 1933 Dix taught at the Dresden Academy until 1937, when he was dismissed by the Nazis, who included him in their Entartete Kunst (Degenerate Art) exhibition. Some of his paintings were burnt. From 1930 onwards his works show a period in which he stylistically approached both Lucas Cranach the Elder, Albrecht Dürer and Matthias Grünewald and Expressionist forms. In 1939 he was arrested and falsely accused of being involved in a plot against Adolf Hitler, but was later released. Without leaving Germany, he retired to Hemmenhofen on Lake Constance, where he devoted himself to landscape painting and depicting religious themes in a style close to that of Albrecht Altdorfer. He is currently represented in the Museo Thyssen Bornemisza, the Fundación Juan March, the Kunstmuseum in Düsseldorf, the Dresden Museum, the Schützengraben and the Bern Art Museum, among many other institutions worldwide.
"Portrait of Ursus", 1927.
Pencil and sanguine drawing on paper.
Signed and dated in the lower margin.
Size: 31 x 37 cm.
A representative of the New Objectivity and German Expressionism, Otto Dix became popular for his paintings of war painted during the First World War, a war in which he enlisted as a volunteer. Notable works from this period include Artillery (1914, Kunstmuseum, Düsseldorf) and The War (1929-1930, Dresden Museum), The Trench (Schützengraben 1921-1923) and the series of 50 etchings entitled War (1924). His output includes 500 sketches and various portraits, as well as canvases and watercolours evoking the Renaissance period. Otto Dix trained at the School of Decorative Arts in Dresden, where he remained until 1914. After the war he returned to Dresden, where he studied at the Academy of Fine Arts and worked as an independent artist, forming part of the Dresdner Sezession Gruppe from 1919, while participating in group exhibitions throughout Germany. He subsequently became a leading figure in the New Objectivity movement, with works that evinced his revulsion at the social injustice of post-war Germany. The acid colours of his compositions attest to this. From 1927 to 1933 Dix taught at the Dresden Academy until 1937, when he was dismissed by the Nazis, who included him in their Entartete Kunst (Degenerate Art) exhibition. Some of his paintings were burnt. From 1930 onwards his works show a period in which he stylistically approached both Lucas Cranach the Elder, Albrecht Dürer and Matthias Grünewald and Expressionist forms. In 1939 he was arrested and falsely accused of being involved in a plot against Adolf Hitler, but was later released. Without leaving Germany, he retired to Hemmenhofen on Lake Constance, where he devoted himself to landscape painting and depicting religious themes in a style close to that of Albrecht Altdorfer. He is currently represented in the Museo Thyssen Bornemisza, the Fundación Juan March, the Kunstmuseum in Düsseldorf, the Dresden Museum, the Schützengraben and the Bern Art Museum, among many other institutions worldwide.
24th November - 19th & 20th Century Arts & Berlanga´s Privat Collection
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