“When I tell people I would like to paint them, I already have their portrait in mind,” German artist Otto Dix once said. “I don’t paint people who don’t interest me.” Even more interesting than the people Dix painted is how he painted them. Dix’s 1925 Portrait of the Dancer Anita Berber (pictured) gives a clue to how he saw the people of the Weimar era in Germany between the wars as the embodiment of the opulence and the decadence of the time. The garish red of the dress hugging the dancer’s form bleeds with the intensity of the period, which throbbed with the aftershocks of the Great War that scarred both Germany and Dix himself, who served on the front lines. An exhibition of Dix’s work currently at the Neue Galerie—the first exhibition ever of his work in North America—presents this complex and challenging artist of the past as someone who perhaps has something to say about our time. Please come over to Picture This at Big Think to read more of "Society Painter."
[Image: Otto Dix (1891-1969), Portrait of the Dancer Anita Berber, 1925. Oil and tempera on plywood. 120.4 x 64.9 cm (47 3/8 x 25 1/2 in.). Sammlung Landesbank Baden-Württemberg im Kunstmuseum, Stuttgart. © 2010 Artists Rights Society (ARS), New York/VG, Bild-Kunst, Bonn. Courtesy of the Neue Galerie New York.]
[Many thanks to the Neue Galerie for providing me with the image above and for a review copy of the catalogue to Otto Dix, which runs through August 30.]