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The picture’s emotional force lies in its stillness. German artist Georg Schrimpf, a major figure in Neue Sachlichkeit (the 1920s & 1930s "New Objectivity” art movement of the Weimar Republic), often painted people and places with a hush that feels both intimate and strangely remote.

Two young women occupy a shallow interior space beside an open window. The woman at left sits sideways on the stone sill, her body angled outward toward the landscape. She wears a soft coral-pink short-sleeved top and a dark, nearly black skirt. Her head bends forward, chin lowered, as if studying the fields below. Her short brown hair curves into a neat bob. The woman at right stands in profile, leaning lightly against the inside wall. She wears a cream sleeveless blouse and a dark skirt. Her brown hair is pulled smoothly into a low knot. Her face is calm and watchful, with a long straight nose and steady gaze. Both figures have light skin softly modeled by muted light. At the far left, a green shutter opens onto a quiet rural view of a meadowland, a few trees, and blue-gray mountains beneath a pale sky. The paint surface is velvety and restrained with gentle edges.

The open window suggests possibility, escape, reflection, or simply a pause between thoughts. The two women share the same threshold yet inhabit different inner states: one bowed inward, one alert and composed. Their closeness does not erase individuality. That tension gives the work its quiet psychological depth.

Painted in 1937, the year after Schrimpf’s work was attacked in the Nazi campaign against so-called “degenerate” art, this serene scene can also be read as a subtle refusal of noise, aggression, and spectacle. Instead of ideology, he offers repose. Instead of heroics, he gives attention to ordinary presence and the charged silence between looking out and remaining within. In that calm, the painting is less a simple genre scene than a meditation on companionship, interior life, and the fragile dignity of peace.

The picture’s emotional force lies in its stillness. German artist Georg Schrimpf, a major figure in Neue Sachlichkeit (the 1920s & 1930s "New Objectivity” art movement of the Weimar Republic), often painted people and places with a hush that feels both intimate and strangely remote. Two young women occupy a shallow interior space beside an open window. The woman at left sits sideways on the stone sill, her body angled outward toward the landscape. She wears a soft coral-pink short-sleeved top and a dark, nearly black skirt. Her head bends forward, chin lowered, as if studying the fields below. Her short brown hair curves into a neat bob. The woman at right stands in profile, leaning lightly against the inside wall. She wears a cream sleeveless blouse and a dark skirt. Her brown hair is pulled smoothly into a low knot. Her face is calm and watchful, with a long straight nose and steady gaze. Both figures have light skin softly modeled by muted light. At the far left, a green shutter opens onto a quiet rural view of a meadowland, a few trees, and blue-gray mountains beneath a pale sky. The paint surface is velvety and restrained with gentle edges. The open window suggests possibility, escape, reflection, or simply a pause between thoughts. The two women share the same threshold yet inhabit different inner states: one bowed inward, one alert and composed. Their closeness does not erase individuality. That tension gives the work its quiet psychological depth. Painted in 1937, the year after Schrimpf’s work was attacked in the Nazi campaign against so-called “degenerate” art, this serene scene can also be read as a subtle refusal of noise, aggression, and spectacle. Instead of ideology, he offers repose. Instead of heroics, he gives attention to ordinary presence and the charged silence between looking out and remaining within. In that calm, the painting is less a simple genre scene than a meditation on companionship, interior life, and the fragile dignity of peace.

“Zwei Mädchen am Fenster (Two Girls at the Window)" by Georg Schrimpf (German) - Oil on canvas / 1937 - Nationalgalerie (Berlin, Germany) #WomenInArt #GeorgSchrimpf #Schrimpf #Nationalgalerie #NeueSachlichkeit #art #kunst #arte #arttext #BlueskyArt #PaintingOfWomen #GermanArt #GermanArtist #1930sArt

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"Schapendijk, Oldenzaal"

Film: Agfa Vista 100

Location: Netherlands

#urban #UrbanPhotography #film #FilmPhotography #StreetPhotography #street #Netherlands #Holland #Dutch #UrbanExploration #Agfa #AgfaVista #AgfaVista100 #Spring #SpringPhotography #sunny #NeueSachlichkeit #NewTopographics #photo

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Two chorus dancers appear in close profile against a nearly black background, cropped at the chest so the eye goes first to their faces rather than to performance or costume. The woman in front closes her eyes, her expression tired, inward, almost private. Both wear translucent pink hats and matching pink stage dresses; their short bobbed hair, pale skin, sharply drawn noses, and vivid red lipstick stand out with theatrical clarity. Their shoulders angle in the same direction, but they do not read as identical showgirls. Instead, each face feels distinct, alert to a different emotional register. The picture is intimate rather than expansive because there is no stage set, no audience, and no spectacle of legs or motion. What remains is the pause between performances, when glamour slips and personhood returns.

That shift is the painting’s quiet power. In Weimar Berlin, revue performers were often presented as decorative types, symbols of nightlife, modernity, and erotic display. German artist Jeanne Mammen, herself a famously independent artist and a keen observer of urban women, resists that flattening. Here she redirects attention from entertainment to exhaustion and from fantasy to labor. 

The Museum of Modern Art (Berlinische Galerie) in Berlin notes that the front figure carries Mammen’s own features and the second resembles her sister Mimi, which makes the image feel even more layered. This is not just a scene of performers, but a subtle meditation on self-projection, family resemblance, and the masks women were asked to wear in modern 1920s European city life. Instead of selling glitter, the painting reveals the human cost beneath it. The result is tender, unsparing, and deeply modern.

Two chorus dancers appear in close profile against a nearly black background, cropped at the chest so the eye goes first to their faces rather than to performance or costume. The woman in front closes her eyes, her expression tired, inward, almost private. Both wear translucent pink hats and matching pink stage dresses; their short bobbed hair, pale skin, sharply drawn noses, and vivid red lipstick stand out with theatrical clarity. Their shoulders angle in the same direction, but they do not read as identical showgirls. Instead, each face feels distinct, alert to a different emotional register. The picture is intimate rather than expansive because there is no stage set, no audience, and no spectacle of legs or motion. What remains is the pause between performances, when glamour slips and personhood returns. That shift is the painting’s quiet power. In Weimar Berlin, revue performers were often presented as decorative types, symbols of nightlife, modernity, and erotic display. German artist Jeanne Mammen, herself a famously independent artist and a keen observer of urban women, resists that flattening. Here she redirects attention from entertainment to exhaustion and from fantasy to labor. The Museum of Modern Art (Berlinische Galerie) in Berlin notes that the front figure carries Mammen’s own features and the second resembles her sister Mimi, which makes the image feel even more layered. This is not just a scene of performers, but a subtle meditation on self-projection, family resemblance, and the masks women were asked to wear in modern 1920s European city life. Instead of selling glitter, the painting reveals the human cost beneath it. The result is tender, unsparing, and deeply modern.

“Revuegirls” by Jeanne Mammen (German) - Oil on cardboard / 1928-1929 - Berlinische Galerie (Berlin, Germany) #WomenInArt #WomensArt #WomenArtists #JeanneMammen #Mammen #BerlinischeGalerie #NeueSachlichkeit #art #artText #kunst #arte #GermanArtist #WomenPaintingWomen #WeimarArt #GermanArt #1920sArt

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"concrete block and mesh"

Film: Kodachrome 64

Location: Oldenzaal (Netherlands)

#UrbanPhotography #urban #film #FilmPhotography #Kodachrome #Kodachrome64 #SlideFilm #Slide #SlideFilmPhotography #NeueSachlichkeit #NewTopographics #DeadpanPhotography #Netherlands #industrial #IndustrialPhotography

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"Roadside Poster"

Film: Fuji Superia 200

Location: Oldenzaal (Netherlands)

#NewTopographics #NeueSachlichkeit #film #FilmPhotography #Netherlands #Dutch #Holland #urban #UrbanPhotography #FujiSuperia200 #FujiSuperia #Fujichrome #DeadpanPhotography #Deadpan #snapshot #DocumentaryPhotography #art

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"A Strange Place to Leave a Bicycle"

Film: Polaroid 690

#Polaroid #film #FilmPhotography #analog #analogue #AnalogPhotography #photography #photo #Instant #InstantPhotography #InstantFilm #Netherlands #Holland #Dutch #urban #UrbanPhotography #Winter #WinterPhotography #NeueSachlichkeit #bike #art

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#backsteinexpressionismus #brickexpressionism #gelsenkirchen #neuesachlichkeit

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Aenne Biermann ❤️

#NeueSachlichkeit

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I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of […]

[Original post on c.im]

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[Female nudity -- sexual activity]

Christian Schad -- Two Girls -- 1928 -- Oil on Canvas -- Private Collection

Another picture from the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s" that struck me was Christian Schad's 1928 "Two Girls" […]

[Original post on c.im]

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The Jeweller Karl Krall -- Otto Dix -- 1923 -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s, Krall was not only, as a chamber music amateur, musical, but was […]

[Original post on c.im]

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Christian Schad
Porträt des Schriftstellers Ludwig Bäumer
(1927)

Christian Schad Porträt des Schriftstellers Ludwig Bäumer (1927)

Christian Schad
Porträt des Schriftstellers Ludwig Bäumer
(1927)
#ChristianSchad #NeueSachlichkeit #Painting

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Rudolf Schlichter
(1890-1955)
Blinde Macht
1937

Rudolf Schlichter (1890-1955) Blinde Macht 1937

Rudolf Schlichter
(1890-1955)
Blinde Macht
1937

#NeueSachlichkeit #RudolfSchlichter #Symbolism #Painting

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Schwarz vom Kohlestaub steht ein Mann, gemalt 1931. Im LVR-Landesmuseum Bonn zeigt die Neue Sachlichkeit, wie Dix, Höch und Felixmüller die Arbeitswelt zwischen Traum und Trauma sahen.

#NeueSachlichkeit #Bonn #Moderne
www.kunst-mag.de/2026/02/12/t...

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Portable Toilets, Industrial Estate

Location: Oldenzaal (Netherlands)

Film: Fuji Astia 100F v2

#toilet #toilets #FilmPhotography #NeueSachlichkeit #NewTopographics #film #photography #photos #photo #toiletry #IndustrialPhotography #industrial #industry #MinimalismPhotography #minimalism #minimal

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Interior, Communal Seating

Film: Fuji Instax Mini - 07 - Skintones HC

#InteriorPhotography #interior #NeueSachlichkeit #FilmPhotography #Instax #film #photography #photo #photos #community #communal #seat #seating #Fuji #Fujichrome #Instax #InstaxMini #nostalgia #VintagePhotography #vintage

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Containers, Industrial Estate

Location: Oldenzaal (Netherlands)

Film: Fuji Provia 100F

#NeueSachlichkeit #NewTopographics #FilmPhotography #film #IndustrialPhotography #Netherlands #Oldenzaal #Overijssel #Holland #Winter #WinterPhotography #snow #snowfall #film #industrial #industry #photography

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"Industrial Structure"

Oldenzaal (Netherlands)

Film: Fuji Superia 400 v2

#NewTopographics #NeueSachlichkeit #MinimalismPhotography #IndustrialPhotography #ArchitecturePhotography #minimalism #minimalist #minimal #MinimalistPhotography #industrial #industry #architecture #liminal #LiminalSpace

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"Interior with Clock and Beverage Dispenser" (Neue Sachlichkeit)

Film: Fuji Superia 200 v2

Location: Oldenzaal (Netherlands)

#NeueSachlichkeit #FilmPhotography #NewTopographics #InteriorPhotography #interior #film #photography #photo #photos #decoration #decorations #decorating #clock #Fujichrome

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#lyrik #gedichte #dichterinnen #neuesachlichkeit #buchempfehlung #lesebuch #anthologie #bücherliebe #Literaturgeschichte #MaschasSchwestern #spurensuche #jüdischeliteratur #frauenliteratur #vergessenestimmen #kulturerhalten #erinnerungskultur #jüdischesleben

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Auf regennasser Kreuzung fehlt jeder Mensch, doch seine Spuren bleiben. Im Haus Opherdicke trifft Neue Sachlichkeit auf Gegenwart.

#NeueSachlichkeit #Fotografie #Museum
www.kunst-mag.de/2025/12/13/t...

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4 Silberdisteln im Glaskrug

4 Silberdisteln im Glaskrug

Guten Morgen!
Aimé Barraud (1902–1954) 🎨 🇨🇭
Silberdisteln im Glaskrug 🖼️
#FlowerFriday #ArtHistory #Stilllife #BskyArt #NeueSachlichkeit

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Preview
Otto Dix im MMK Passau - Kunst Mag Otto Dix (1891–1969) wuchs in einem Arbeiterhaushalt auf – sein Vater war Former in einer Eisengießerei, seine Mutter Näherin –, kam jedoch durch seine Familie schon früh mit der Kunst in Berührung.

Otto #Dix prägte die #NeueSachlichkeit entscheidend mit, galt den Nationalsozialisten jedoch als „entartet". Das Museum Moderner Kunst Wörlen #Passau zeigt nun Werke aus fünf Jahrzehnten seines Schaffens. #OttoDix #Kunstgeschichte
www.kunst-mag.de/2025/09/07/o...

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@followers Quuand un macroniste nous fait une palmade...
#watercolor #aquarelle #caricature #politicalcartoon #SatireArt #Symbolisme #Dada #ExpressionismeAllemand #BauRauss #WeimarArt #Verismus #NeueSachlichkeit #MagischerRealismus #Агитпроп #simplicissimus #artbrut #artepovera

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@followers #Macronie #oligarchie #nepotisme #ploutocratie
#watercolor #aquarelle #caricature #politicalcartoon #SatireArt #Symbolisme #Dada #ExpressionismeAllemand #BauRauss #WeimarArt #Verismus #NeueSachlichkeit #MagischerRealismus #Агитпроп #simplicissimus #artbrut #artepovera

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@followers #LoiDuplomb #FNSEA #Senat #AssembleeNationale
#watercolor #aquarelle #caricature #politicalcartoon #SatireArt #Symbolisme #Dada #ExpressionismeAllemand #BauRauss #WeimarArt #Verismus #NeueSachlichkeit #MagischerRealismus #Агитпроп #simplicissimus #artbrut #artepovera

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Otto Dix 🇩🇪👨🏻‍🎨
fallece #25Julio de 1969🙏🏻
Maestro de la Nueva Objetividad
Su obra, cruda y satírica retrata sin filtro la realidad de su tiempo, desafiando con cada pincelada 🖼
#FelizViernesATodos #NeueSachlichkeit
#OttoDix #Pintura #Arte #OtrebordmXCultura

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Video

@followers @histoire_en_mots a sorti un magnifique petit livre !
#watercolor #aquarelle #caricature #politicalcartoon #SatireArt #Symbolisme #Dada #ExpressionismeAllemand #BauRauss #WeimarArt #Verismus #NeueSachlichkeit #MagischerRealismus #Агитпроп #simplicissimus #artbrut #artepovera

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@followers Dans la famille des empoisonneurs, je recherche... Le sénatueur ! #Duplomb #FNSEA #Macronie
#watercolor #aquarelle #caricature #Dada #ExpressionismeAllemand #BauRauss #WeimarArt #Verismus #NeueSachlichkeit #MagischerRealismus #Агитпроп #simplicissimus #artbrut #artepovera

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