Posts by Otto Dix
Gift of Abby Aldrich Rockefeller
Crater Field near Dontrien, Lit by Flares (Trichterfeld bei Dontrien, von Leuchtkugeln erhellt) from The War (Der Krieg) http://www.moma.org/collection/works/63266
Curt Valentin Fund
Maud Arizona (Suleika, The Tattooed Wonder) [Maud Arizona (Suleika, das tätowierte Wunder)] from the portfolio Circus (Zirkus) http://www.moma.org/collection/works/74951
head and torso of man with large wounds on head on PR side, PR eye, chin, PR side of neck, chest and PR hand and arm
Sterbender Soldat (Dying Soldier), plate 26 from Der Krieg (The War) https://collections.artsmia.org/art/96559/
two men in foreground crawl with buckets carried in their mouths; brilliant sun lights up battlefield with skeletons
Essenholer bei Pilkem (Food Reconnoiterer near Pilkem), plate 43 from Der Krieg (The War) https://collections.artsmia.org/art/96583/
The Associates Fund
Sailor and Girl (Matrose und Mädchen) http://www.moma.org/collection/works/125110
dark abstracted image of line of soldiers in foreground and L edge, some wearing gas masks
Die II Kompanie wird heute Nacht abgelöst (The Second Company Will Be Relieved Tonight), plate 20 from Der Krieg (The War) https://collections.artsmia.org/art/96553/
Gertrud A. Mellon Fund
Portrait of Otto Klemperer (Bildnis Otto Klemperer) http://www.moma.org/collection/works/65899
Given anonymously
Scherzo from the portfolio Nine Woodcuts (Neun Holzschnitte) http://www.moma.org/collection/works/70379
Gift of Abby Aldrich Rockefeller
Visit to Madame Germaine's in Méricourt (Besuch bei Madame Germaine in Méricourt) from The War (Der Krieg) http://www.moma.org/collection/works/63264
two bodies hanging out of a hole blown in the corner of a brick building; woman's body with the body of a baby on top of it, LLC; legs at ULC Published in Berlin in 1924 on the occasion of the tenth anniversary of the mobilization of German forces during the First World War (1914-18), Otto Dix's celebrated print cycle Der Krieg presents the ugly realities of modern warfare in horrific detail. The portfolio features 50 intaglio plates, whose subjects arose from Dix's own wartime experiences and memories of the ravages of combat and its aftermath. Dix had enthusiastically volunteered for service in the German army in 1915 and had fought in an artillery regiment and as a machine gunner on the Western front, including the infamous Battle of the Somme, where Allied and German forces suffered more than one million causalities. Wounded several times himself, Dix was deeply traumatized by his experiences and suffered recurring nightmares for the rest of his life. At the same time, Dix was fascinated by the experience of war, especially the psychological truths of human conflict. He explores these truths through the morbid realism of his depictions. Dix consciously modeled Der Krieg on Francisco Goya's equally famous print cycle Los Desastres de la Guerra (The Disasters of War), which recounted the travesties of Napoleon's invasion of Spain during the Peninsular War of 1808 to 1814. Like Goya, Dix produced his images in intaglio, a medium perfectly suited for the lush textures and meticulous detail he sought to create. As a result, despite their horrific content, the prints possess an aesthetic quality that Dix exploited through his skillful use of etching, drypoint and aquatint techniques. Dix, who in the years following the First World War became one of the preeminent proponents of the social realist movement Neue Sachlicgkeit (New Objectivity), was relentless in exposing life's absurdities and contradictions. One of the great masterpieces of twentieth century art, Der Krieg is a fundamental examination of humanity's capacity for brutality, and remains one of the most powerful anti-war statements ever made.
Durch Fliegerbomben zerstörtes Haus (House Destroyed by Aerial Bombs), plate 39 from Der Krieg (The War) https://collections.artsmia.org/art/96579/
Gift of Abby Aldrich Rockefeller
Transporting the Wounded in Houthulst Forest (Verwundetentransport im Houthulster Wald) from The War (Der Krieg) http://www.moma.org/collection/works/87759
Gift of Abby Aldrich Rockefeller
Abandoned Position near Vis-en-Artois (Verlassene Stellung bei Vis-en-Artois) from The War (Der Krieg) http://www.moma.org/collection/works/87733
Gift of Abby Aldrich Rockefeller
Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg) http://www.moma.org/collection/works/63260
Gift of Abby Aldrich Rockefeller
Dying Soldier (Sterbender Soldat) from The War (Der Krieg) http://www.moma.org/collection/works/87743
Gift of Abby Aldrich Rockefeller
Roll Call of Returning Troops (Appell der Zurückgekehrten) from The War (Der Krieg) http://www.moma.org/collection/works/63268
Gift of Abby Aldrich Rockefeller
Skull (Schädel) from The War (Der Krieg) http://www.moma.org/collection/works/63262
Abby Aldrich Rockefeller Fund
Woman with Heron Feather (Dame mit Reiher) from the portfolio Die Schaffenden, vol. 5, no. 1 http://www.moma.org/collection/works/66988
Gift of Abby Aldrich Rockefeller
Found While Digging a Trench (Auberive) [Gefunden beim Grabendurchstich (Auberive)] from The War (Der Krieg) http://www.moma.org/collection/works/87746
seated soldiers in a dark, barren landscape with a black sky
Runende Kompanie (Resting Company), plate 14 from Der Krieg (The War) https://collections.artsmia.org/art/96547/