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With inflation reined in and the economy on an upswing, discretionary income flowed to an array of consumer goods and leisure activities, and personal, sexual, and social freedoms flourished—all of which supplied ample subject matter for artists. In he was called to military service.

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Latina Woman Amelie. Yet the fourteen years of Prostitutes Zulpich Weimar Republic —33 also witnessed unprecedented Prostitutes Zulpich, economic, and political ruptures. Bringing together nearly two hundred paintings, photographs, drawings, and prints by more than fifty artists, Prostitutes Zulpich Objectivity: Modern German Art in the Weimar Republic, — examines the varied ways the artists of this period displayed their disillusionment with the past, engaged in sharp social critique, and sought to make sense of a rapidly changing modern society.

Prostitutes Zulpich War I had left the German economy and morale in shambles, with close to 2. While German Expressionist artists had for the most initially embraced the war, soon they were profoundly shocked by the shattering realities of the battlefield and the carnage they witnessed.

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It was in this context of the complicated political realities of Prostitutes Zulpich new Germany that increasing numbers of artists moved away from the Expressionism of the prewar period and turned instead toward realism. This newly grounded, sober view of Prostitutes Zulpich life formed the basis of what was dubbed Neue Sachlichkeit —New Objectivity.

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The situation through the early s was volatile; by latefor example, inflation began Prostitutes Zulpich skyrocket so high that a single egg would eventually cost billion marks. Conditions began Prostitutes Zulpich improve gradually toward the end ofleading to a Prostitutes Zulpich known as the Golden Twenties. With inflation reined in and the economy on an upswing, discretionary income flowed to an array of consumer goods and leisure activities, and personal, sexual, and social freedoms flourished—all of which supplied ample subject matter for artists.

But the Wall Street crash in October and the ensuing worldwide economic depression Prostitutes Zulpich disastrous for the country, provoking a crisis of widespread bankruptcies and unemployment.

The remaining years of the republic were marked by instability Prostitutes Zulpich street violence, culminating in the rise of the Nazi Party.

While they were not unified by Prostitutes Zulpich, political tendency, or geography, New Objectivity artists did share a skepticism regarding the Prostitutes Zulpich of German society in the years following World War I. New Objectivity: Modern German Art in the Weimar Republic, — presents figures whose careers are central to twentieth-century German modernism Prostitutes Zulpich Beckmann, Otto Dix, and George Grosz together with those whose achievements may be less well-known internationally but who are nevertheless closely associated with this particular form of realism for example, Aenne Biermann, August Sander, Christian Schad, and Georg Scholz.

The exhibition is divided into five Prostitutes Zulpich sections that address competing and at times conflicting approaches that these artists applied to the tumultuous Weimar years.

Some of the works attack political and social Prostitutes Zulpich others appear nostalgic for the past; still Prostitutes Zulpich focus on objects, rendered in uninflected surfaces and seemingly frozen in time. For artists such as Otto Dix, this may have been a way to confront the trauma of personal wartime experiences on the front.

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He, along with many other artists, depicted urban landscapes populated with men and women in desperate circumstances. Prostitutes Zulpich blind or amputee beggar, a common sight at the time, acted as a stand-in for a society irreparably scarred by war.

Prostitution Prostitutes Zulpich widespread, as was sexual aggression and violence.

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Yet the fourteen years of the Weimar Republic —33 also witnessed unprecedented social, economic, and political ruptures. The first surgery, removal of the testicles, was made under the supervision of sexologist Magnus Hirschfeld in Berlin. Born in Munich, Hans Finsler was a gifted teacher of photography in Switzerland from the s to the s, where he taught students the vocabulary of modernism and its strength of vision.

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