Editing New Objectivity (section)

==Painting==
===Verists and classicists===
[[File:Georg Scholz, Kriegerverein, 1922.jpg|thumb|[[Georg Scholz]], ''War Veterans' Association'' (1922)]]
[[File:Alexander Kanoldt - Grosses Stilleben mit Krügen und roter Teedose - 2395 - Staatliche Kunsthalle Karlsruhe.jpg|thumb|[[Alexander Kanoldt]], ''Still Life with Jugs and Red Tea Caddy'' (1922)]]
Hartlaub first used the term in 1923 in a letter he sent to colleagues describing an exhibition he was planning.<ref name="Roh285">Roh et al. 1997, p. 285</ref> In his subsequent article, "Introduction to 'New Objectivity': German Painting since Expressionism",  Hartlaub explained, 
{{quote|what we are displaying here is distinguished by the—in itself purely external—characteristics of the objectivity with which the artists express themselves.<ref name="Kaes492">Kaes et al. 1994, p. 492</ref>}}
<!-- Commented out: [[Image:George grosz-the eclipse of the sun.jpg|thumb|350px|left|''The Eclipse of the Sun'' by George Grosz, 1926]] -->
The New Objectivity was composed of two tendencies which Hartlaub characterized in terms of a left and right wing: on the left were the ''[[Verism|verists]]'', who "tear the objective form of the world of contemporary facts and represent current experience in its tempo and fevered temperature"; and on the right the ''classicists'', who "search more for the object of timeless ability to embody the external laws of existence in the artistic sphere".<ref name="Kaes492" />

The verists' vehement form of [[Realism (arts)|realism]] emphasized the ugly and sordid.<ref>Michalsky 1994, p. 20</ref> Their art was raw, provocative, and harshly satirical. [[George Grosz]] and [[Otto Dix]] are considered the most important of the verists.<ref>Michalsky 1994, p. 27</ref> The verists developed Dada's abandonment of any pictorial rules or artistic language into a “satirical hyperrealism”, as termed by [[Raoul Hausmann]], and of which the best known examples are the graphical works and photo-montages of [[John Heartfield]]. Use of collage in these works became a ''compositional'' principle to blend reality and art, as if to suggest that to record the facts of reality was to go beyond the most simple appearances of things.<ref name="Midgley15" /> Artists such as Grosz, Dix, [[Georg Scholz]], and [[Rudolf Schlichter]] painted satirical scenes that often depicted a madness behind what was happening, depicting the participants as cartoon-like. When painting portraits, they gave emphasis to particular features or objects that were seen as distinctive aspects of the person depicted.

Other verists, like [[Christian Schad]], depicted reality with a clinical precision, which suggested both an empirical detachment and intimate knowledge of the subject. Schad's paintings are characterized by "an artistic perception so sharp that it seems to cut beneath the skin", according to the art critic Wieland Schmied.<ref>Schmied 1978, p. 19</ref> Often, psychological elements were introduced in his work, which suggested an underlying unconscious reality.

[[Max Beckmann]], who is sometimes called an expressionist although he never considered himself part of any movement,<ref>Schmied 1978, pp. 23–24</ref> was considered by Hartlaub  to be a verist<ref name="Schmied10">Schmied 1978, p. 10</ref> and the most important artist of ''Neue Sachlichkeit''.<ref>Michalsky 1994, p. 147</ref>

Compared to the verists, the classicists more clearly exemplify the "return to order" that arose in the arts throughout Europe. The classicists included [[Georg Schrimpf]], [[Alexander Kanoldt]], [[Carlo Mense]], [[Heinrich Maria Davringhausen]], and [[Wilhelm Heise]].<ref name="Schmied10" /> The sources of their inspiration included 19th-century art, the Italian [[metaphysical art|metaphysical painters]], the artists of [[Novecento Italiano]], and Henri Rousseau.<ref>Schmied 1978, p. 11</ref>

The classicists are best understood by [[Franz Roh]]'s term [[Magic Realism]], though Roh originally intended "magical realism" to be synonymous with the ''Neue Sachlichkeit'' as a whole.<ref>Schmied 1978, p. 9</ref> For Roh, as a reaction to expressionism, the idea was to declare "[that] the autonomy of the objective world around us was once more to be enjoyed; the wonder of matter that could crystallize into objects was to be seen anew."<ref>Zamora and Faris 1995</ref> With the term, he was emphasizing the "magic" of the normal world as it presents itself to us—how, when we really look at everyday objects, they can appear strange and fantastic.

===Regional groups===
[[File:1926 Hans Mertens Ecartéspieler.jpg|thumb|Hans Mertens, ''Card Players'', 1929]]
Most of the artists of the New Objectivity did not travel widely, and stylistic tendencies were related to geography. While the classicists were based mostly in [[Munich]], the verists worked mainly in Berlin (Grosz, Dix, Schlichter, and Schad); [[Dresden]] (Dix, [[Hans Grundig]], [[Wilhelm Lachnit]] and others); and [[Karlsruhe]] ([[Karl Hubbuch]], [[Georg Scholz]], and [[Wilhelm Schnarrenberger]]).<ref name="Schmied10" /> The works of the Karlsruhe artists emphasize a hard, precise style of drawing, as in Hubbuch's watercolor ''The Cologne Swimmer'' (1923).<ref>Michalski 1994, pp. 90, 96</ref>

In [[Cologne]], a [[constructivism (art)|constructivist]] group led by [[Franz Wilhelm Seiwert]] and [[Heinrich Hoerle]] also included [[Gerd Arntz]]. Also from Cologne was [[Anton Räderscheidt]], who after a brief constructivist phase became influenced by [[Antonio Donghi]] and the metaphysical artists.

Artists active in [[Hanover]], such as [[Grethe Jürgens]], [[Hans Mertens]], [[Ernst Thoms]], and [[Erich Wegner]], depicted provincial subject matter with an often lyrical style.<ref>Michalski 1994, pp. 135–136</ref>

[[Franz Radziwill]], who painted ominous landscapes, lived in relative isolation in [[:de:Dangast|Dangast]], a small coastal town.<ref>Michalski 1994, p. 153</ref> [[Carl Grossberg]] became a painter after studying architecture in Aachen and Darmstadt and is noted for his clinical rendering of industrial technology.<ref>Michalski 1994, p. 169</ref>