Editing New Objectivity (section)

===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>