In my previous blogs on this subject, Objectivity A New Perspective on the Conversation About Race, Parts 1 and 2, I said we're all inherently subjective, and we all have unconscious biases.
By the mid-1920's, having tried his hand at Cubism, Dadaism and Futurism, Dix became identified, along with Beckmann and Grosz, with a movement called New Objectivity, which set out to reclaim realism in art.
Neue Sachlichkeit, (German: New Objectivity), a group of German artists in the 1920s whose works were executed in a realistic style (in contrast to the prevailing styles of Expressionism and Abstraction) and who reflected what was characterized as the resignation and cynicism of the post-World War I period in Germany.
Both films are in the realistic, socially conscious style called Die Neue Sachlichkeit (the New Objectivity or New Sobriety) which succeeded expressionism, the movement concerned with the subjective and fantastical which, in the cinema at least, was fairly short-lived.
Behrens helped to develop a philosophy of Neue Sachlichkeit ("New Objectivity") in design, which emphasized technology, manufacturing processes, and function, with style subordinated to purpose.
The painting dates from the period of Grosz's involvement with the New Objectivity movement, a group of German artists committed to social criticism.
Among European dealers, the Galerie Brockstedt of Berlin stands out, with a wall of collages by Kurt Schwitters, a turbulent Italian landscape by Emil Nolde from 1905, and a knife-sharp portrait of a woman, done in 1925 by Christian Schad, a painter of the Neue Sachlichkeit (New Objectivity) movement.
Not only is this the city's best-known and most historic lido, it's also Europe's largest, with a 1,275 metre expanse of sandy beach and impressive 1920s "New Objectivity" architecture that houses a promenade of pizza, beer and ice-cream stalls.
