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细节
DIX, Otto (1891-1969)
Der Krieg (Karsch 70-119)
the complete set of fifty etchings with drypoint and aquatint in five volumes, 1924, most plates on laid paper watermarked BSB, 11 plates on wove paper, all signed in pencil and inscribed with the plate number and numbered 50/70, each set of ten prints within the original paper wrappers, with the justification and table of contents on the inside, each signed and numbered 50 in pencil on the justification (the total edition was 70), published by Karl Nierendorf, Berlin, printed by O. Felsing, Berlin, the full sheets, very minor foxing and creases to some sheets, generally in very good condition, within the original beige cloth portfolios with the title in black on front (volume 3 with some staining and foxing on the linen cover and partially broken at the lower spine) (portfolio)
Overall: 20 x 15 in. (521 x 381 mm.)
Literature:
Florian Karsch, Otto Dix -- Das graphische Werk, Fackelträger-Verlag, Hannover, 1970, no. 70-119.
John Willett, Dix: War, in: Disasters of War -- Callot Goya Dix, Arts Council Touring Exhibition, London, 1998, p. 57-75).
Otto Dix's Der Krieg is one of the finest and most unflinching depictions of war in western art. His early 20th century vision of the horrors of the battlefield ranks alongside those of Jacques Callot's Les Grandes Misères de la Guerre and Francisco Goya's Los Desastres de la Guerra.
Dix enlisted in the army soon after hostilities began and took part in some of the bloodiest engagements of the entire conflict, including the Battle of the Somme, the Russian front, Verdun and Ypres. His work before and in the early stages echoed the dynamism of the Italian Futurists, whose work was exhibited in Germany in 1913. Whilst Dix avoided the nervous collapse experienced by many other artists, including Ernst Ludwig Kirchner and Max Beckmann, he was nonetheless radically transformed by what he saw. The excitement and fascination with industrial warfare gave way to an intensely critical attitude towards the German social and military establishment once the war was over. Back in Dresden he became involved with a small Dadaist group, and through them exhibited in the First International Dada Fair in 1920. He adopted a collage technique, which had its roots in Dada as well as Cubism and proofed perfectly suited to depicting the grotesque products of war and its corrupting effects on society.
His horrific and grotesque, at times darkly funny, depictions of the war - the battlefields, the trenches, shell craters, soldiers in close combat, dismembered bodies and rotting corpses left behind in the mud -- were the result of a desire, a need almost, to exorcise the ghosts that haunted him. 'My dreams were full of debris' he said many years later. (cf. J. Willett, p. 65)
This exorcism was typified by a large, gruesome painting entitled The Trench (1920-23), which was sold initially to the Wallraf-Richartz Museum in Cologne. After much controversy it was given back to Dix before at last finding a home in the Staatliche Kunstsammlungen in Dresden. In between it was sent on tour as part of a pacifist exhibition called Nie wieder Krieg! ('Never another War!'), the popularity of which prompted Dix's dealer Karl Nierendorf to commission a series of fifty prints on the same theme, to be published in Berlin in 1924.
The painting was to slumber in a Dresden storeroom until it was seized by the Nazis and shown in the notorious Entartete Kunst exhibition in 1937, where it hung near a complete set of Der Krieg. The painting subsequently disappeared, and was presumably destroyed. The prints, however, have survived -- Dix's finest, most famous, passionate and shocking work. (5)
Der Krieg (Karsch 70-119)
the complete set of fifty etchings with drypoint and aquatint in five volumes, 1924, most plates on laid paper watermarked BSB, 11 plates on wove paper, all signed in pencil and inscribed with the plate number and numbered 50/70, each set of ten prints within the original paper wrappers, with the justification and table of contents on the inside, each signed and numbered 50 in pencil on the justification (the total edition was 70), published by Karl Nierendorf, Berlin, printed by O. Felsing, Berlin, the full sheets, very minor foxing and creases to some sheets, generally in very good condition, within the original beige cloth portfolios with the title in black on front (volume 3 with some staining and foxing on the linen cover and partially broken at the lower spine) (portfolio)
Overall: 20 x 15 in. (521 x 381 mm.)
Literature:
Florian Karsch, Otto Dix -- Das graphische Werk, Fackelträger-Verlag, Hannover, 1970, no. 70-119.
John Willett, Dix: War, in: Disasters of War -- Callot Goya Dix, Arts Council Touring Exhibition, London, 1998, p. 57-75).
Otto Dix's Der Krieg is one of the finest and most unflinching depictions of war in western art. His early 20th century vision of the horrors of the battlefield ranks alongside those of Jacques Callot's Les Grandes Misères de la Guerre and Francisco Goya's Los Desastres de la Guerra.
Dix enlisted in the army soon after hostilities began and took part in some of the bloodiest engagements of the entire conflict, including the Battle of the Somme, the Russian front, Verdun and Ypres. His work before and in the early stages echoed the dynamism of the Italian Futurists, whose work was exhibited in Germany in 1913. Whilst Dix avoided the nervous collapse experienced by many other artists, including Ernst Ludwig Kirchner and Max Beckmann, he was nonetheless radically transformed by what he saw. The excitement and fascination with industrial warfare gave way to an intensely critical attitude towards the German social and military establishment once the war was over. Back in Dresden he became involved with a small Dadaist group, and through them exhibited in the First International Dada Fair in 1920. He adopted a collage technique, which had its roots in Dada as well as Cubism and proofed perfectly suited to depicting the grotesque products of war and its corrupting effects on society.
His horrific and grotesque, at times darkly funny, depictions of the war - the battlefields, the trenches, shell craters, soldiers in close combat, dismembered bodies and rotting corpses left behind in the mud -- were the result of a desire, a need almost, to exorcise the ghosts that haunted him. 'My dreams were full of debris' he said many years later. (cf. J. Willett, p. 65)
This exorcism was typified by a large, gruesome painting entitled The Trench (1920-23), which was sold initially to the Wallraf-Richartz Museum in Cologne. After much controversy it was given back to Dix before at last finding a home in the Staatliche Kunstsammlungen in Dresden. In between it was sent on tour as part of a pacifist exhibition called Nie wieder Krieg! ('Never another War!'), the popularity of which prompted Dix's dealer Karl Nierendorf to commission a series of fifty prints on the same theme, to be published in Berlin in 1924.
The painting was to slumber in a Dresden storeroom until it was seized by the Nazis and shown in the notorious Entartete Kunst exhibition in 1937, where it hung near a complete set of Der Krieg. The painting subsequently disappeared, and was presumably destroyed. The prints, however, have survived -- Dix's finest, most famous, passionate and shocking work. (5)