OTTO DIX (1891-1969)
OTTO DIX (1891-1969)
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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
OTTO DIX (1891-1969)

Tanzsaal

細節
OTTO DIX (1891-1969)
Tanzsaal
signed, dated and numbered 'DIX 22 / 142' (lower right); inscribed 'Tanzsaal' (on the reverse)
watercolour and pencil on paper
19 ½ x 17 ½ in. (49.5 x 44.4 cm.)
Executed in 1922
來源
Galerie Nierendorf Köln Neue Kunst, Cologne, on consignment from the artist, by 8 November 1922.
Johanna Ey, Dusseldorf, on consignment from Martha Dix [the artist's wife], by 27 November 1926.
Kunstsammlungen der Stadt, Dusseldorf, by whom acquired from the above, on 25 October 1929.
Confiscated from the above as 'degenerate art' by the Reichsministerium für Volksaufklärung und Propaganda, Berlin (EK no. 2261), on 26 August 1937.
Hildebrand Gurlitt, Hamburg, by whom acquired from the above on 21 March 1941; sale, Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, 13 May 1948, lot 367.
Private collection, by 1971.
Galerie Im Erker, St Gallen, by 1972.
Private collection, Italy; sale, Karl & Faber, Munich, 1 June 1989, lot 807.
Galleri K, Oslo, by whom acquired at the above sale.
Private collection, Switzerland, by whom acquired from the above.
Private collection, Europe, by whom acquired from the above, and thence by descent to the present owner.
出版
F. Roh, 'Entartete' Kunst, Kunstbarbarei im Dritten Reich, Hanover, 1962, p. 152.
B.S. Barton, Otto Dix and Die neue Sachlichkeit, 1918-1925, Ann Arbor, 1981, no. 36, p. 141 (with incorrect medium).
S. Pfäffle, Otto Dix: Werkverzeichnis der Aquarelle und Gouachen, Stuttgart, 1991, no. A 1922⁄68, p. 159 (illustrated; with incorrect medium).
1937, Die Aktion 'Entartete Kunst', exh. cat., Museum Kunstpalast, Dusseldorf, 2017, p. 50 (with incorrect medium).
展覽
Stuttgart, Galerie der Stadt, Otto Dix zum 80. Geburtstag: Gemälde, Aquarelle, Gouachen, Zeichnungen, Radierfolge 'Der Krieg', October - November 1971, no. 167, p. 166.

榮譽呈獻

Veronica Scarpati
Veronica Scarpati Head of Works on Paper Sale

拍品專文


Otto Dix’s watercolour Tanzsaal of 1922 presents a compact, psychologically charged tableau of urban social life in the early Weimar Republic. Executed in the year that marks Dix’s full immersion in the visual vocabulary of Neue Sachlichkeit, the sheet condenses observation, caricature and moral scrutiny within a deceptively simple medium: watercolour and pencil on paper. The work’s economy of means - light washes, decisive linear accents and the occasional heightened tone - allows Dix to register both the surface glamour and the underlying disquiet of a dance-hall encounter.

Compositionally, Tanzsaal centres on four figures - three women and one man - arranged within a shallow pictorial space that narrows attention to interpersonal dynamics. Dix’s handling of the group is at once clinical and intimate: bodily postures and facial types are rendered with crisp draughtsmanship, while washes map out a limited atmosphere of artificial light. The three female figures are differentiated by gesture and costume, offering a sequence of social roles (the coquettish, the watchful, the resigned) rather than mere repetitions of an archetype; the lone male figure, slightly set apart, functions as both participant and object of scrutiny. This quartet becomes a microcosm of Weimar urbanity, where leisure and commerce, desire and exploitation, are compressed into a single setting.

Technically, the watercolour medium is particularly suitable to Dix’s aims in this work. The quick, translucent passages convey the flicker of electric light and the ephemeral glamour of the dance-hall, while pencil defines the incisive contours of faces and hands. Dix often juxtaposed the immediacy of watercolour with a satirical exactitude - here, small details (the tilt of a hat, the angularity of a jaw, the droop of a sleeve) perform an indexical function, naming social types and moral conditions without rhetorical excess.

Interpretively, Tanzsaal participates in Dix’s broader critique of post-war society. The work declines facile nostalgia for urban gaiety and instead discloses tensions beneath the spectacle: the commodification of intimacy, the precariousness of feminine respectability, and the theatricality of self-presentation in public venues. Read against Dix’s graphic work of the same period, the sheet resonates with a forensic interest in bodies as carriers of social biography.

That Tanzsaal remained over three decades in a prestigious private collection underscores its status within Dix’s oeuvre as an incisive small-scale study that exemplifies his capacity to make watercolour serve the same moral and documentary ambitions he brought to oil and print. The work is significant not only for its pictorial refinement but for its preparedness to register the contradictions of Weimar modernity in a medium often associated with intimacy and immediacy.

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