Neue Sachlichkeit / New Objectivity
The Neue Sachlichkeit movement was divided by two philosophies—the unflinching and socially critical Verists, and the Classicists, who focused on harmony and beauty.
Georg Scholz
(1890-1945)
Of Things to Come, 1922
Oil on board
Neue Galerie New York
This special exhibition at Neue Galerie New York debuts in conjunction with the centenary of Gustav F. Hartlaub’s 1925 groundbreaking survey of the same name held at the Kunsthalle Mannheim. The New Objectivity movement is considered one of the most significant artistic developments of the twentieth century. Hartlaub’s presentation showcased a new style of art that had emerged in the aftermath of World War I, characterized by its critical realism, social commentary, and detailed depiction of contemporary life, and marking a significant departure from Expressionism’s emotional intensity.
The Neue Sachlichkeit movement was divided by two philosophies—the unflinching and socially critical Verists (represented by Otto Dix, George Grosz, and Georg Scholz, for example), and the Classicists (such as Alexander Kanoldt, Georg Schrimpf, and Christian Schad), who focused on harmony and beauty. The show will offer a wide-ranging perspective, exploring the tension between the Verists and the Classicists, which will be illustrated through a multidisciplinary installation, featuring paintings, sculpture, photography, decorative arts, works on paper, and film. The artists represented include Max Beckmann, Marianne Brandt, Marcel Breuer, Otto Dix, Carl Grossberg, George Grosz, Karl Hubbuch, August Sander, Christian Schad, Oskar Schlemmer, and Georg Scholz, among others. The presentation interprets these two camps as a coherent chapter in art history, focusing on the ways that the New Objectivity proponents mirrored the Weimar Republic’s cultural, political, and social complexities.
“Neue Sachlichkeit / New Objectivity” is organized by Neue Galerie New York. This exhibition is curated by Dr. Olaf Peters, a professor of modern art at Martin Luther University in Halle-Wittenberg, Germany. At the Neue Galerie, Dr. Peters has previously organized “Max Beckmann: The Formative Years, 1915-1925,” “Otto Dix,” “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937,” “Berlin Metropolis: 1918-1933,” and “Before the Fall: German and Austrian Art of the 1930s.”
The exhibition is made possible in part by the Neue Galerie President’s Circle.
LEARN MORE
Exhibition Catalogue Coming Soon
A fully illustrated catalogue, published by Neue Galerie New York and Prestel, accompanies the exhibition.
Audio Guide Coming Soon
Hear curatorial insights on key works in the exhibition.
Join us for a weekend of exploration, as we celebrate the opening of our new special exhibition “Neue Sachlichkeit / New Objectivity.” From activities for young children and teens to lectures and more, there is something for everyone!
Oskar Schlemmer
(1888–1943)
Bauhaus Stairway, 1932
Oil on canvas
The Museum of Modern Art, New York
Gift of Philip Johnson
Franz M. Jansen
(1885–1958)
Masks, 1925
Oil on canvas
LVR-Landesmuseum Bonn
Photo: Jürgen Vogel
Rudolf Schlichter
(1890–1955)
Woman with Tie, ca. 1923
Oil on canvas
Private Collection
Otto Dix
(1891–1969)
Dr. Mayer-Hermann, 1926
Oil and tempera on wood
The Museum of Modern Art , New York
Gift of Philip Johnson
© 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Otto Dix
(1891–1969)
Reclining Woman on a Leopard Skin, 1927
Oil on panel
Collection of the Herbert F. Johnson Museum of Art, Cornell University. Gift of Samuel A. Berger Image courtesy of the Johnson Museum
© 2025 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
George Grosz
(1893–1959)
Eclipse of the Sun, 1926
Oil on canvas
The Heckscher Museum of Art, Huntington, NY. Museum Purchase
© 2025 Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY
Hans Grundig
(1901–1958)
Unemployed Cigarette Worker, 1925
Oil on paper
Kulturhistorisches Museum Magdeburg
Photo: Ines Sachsenweger