OTTO DIX (1891-1969)
OTTO DIX (1891-1969)
OTTO DIX (1891-1969)
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OTTO DIX (1891-1969)

Buckliges Mädchen

细节
OTTO DIX (1891-1969)
Buckliges Mädchen
signed and dated DIX 22 (lower right); inscribed Buckliges Mädchen (lower left); inscribed again Privatbesitz (lower right)
black crayon and pencil on paper
67,5 x 46,9 cm. (26 ½ x 18 ½ in.)
Executed in 1922
来源
Property of the artist, until at least 1964.
Galerie Nierendorf, Berlin, by 1966; probably acquired from the above.
Acquired from the above by 1971; then by descent to the present owners.
出版
H.E. Kleine-Natrop & F. Löffler, 'Die Medizin im Werk von Otto Dix', in: Personal- und Vorlesungsverzeichnis der Medizinischen Akademie, Dresden, 1968, pp. 14 (ill. fig. 13) & 16.
H. Kinkel, Otto Dix: Protokolle der Hölle - Zeichnungen, Frankfurt, 1968, no. 81, p. CXXI & pl. 81 (ill.; with incorrect medium).
B.S. Barton, Otto Dix and Die neue Sachlichkeit, 1918-1925, Ann Arbor, 1981, no. V.C.7, p. 142.
O. Conzelmann, Der andere Dix: Sein Bild vom Menschen und vom Krieg, Stuttgart, 1983, p. 250 (ill.; with incorrect medium).
U. Lorenz, Otto Dix, Das Werkverzeichnis der Zeichnungen und Pastelle, vol. II, Bonn, 2002, no. EDV 9.2.5, p. 827 (ill.; with incorrect medium).
展览
Heidelberg, Kurpfälzisches Museum, Kunst in Dresden: 18.-20. Jahrhundert - Aquarelle, Zeichnungen, Druckgraphik, September - November 1964, no. 124, pp. 45 & 46 (ill.; with incorrect medium).
Berlin, Galerie Nierendorf, Otto Dix, September - December 1966, no. 7, p. 13 (ill.; with incorrect medium).
Hamburg, Kunstverein, Otto Dix - Gemälde, Aquarelle, Zeichnungen, Graphik, December 1966 - January 1967, no. 141; then Frankfurt am Main, Frankfurter Kunstverein, February - March 1967 (with incorrect medium).
Stuttgart, Galerie der Stadt Stuttgart, Otto Dix zum 80. Geburtstag: Gemälde, Aquarelle, Gouachen, Zeichnungen, Radierfolge 'Der Krieg', October - November 1971, no. 236, p. 171 (with incorrect medium).
Paris, Musée d'Art Moderne de la Ville de Paris, Otto Dix: Peintures, aquarelles, gouaches, dessins et gravures du cycle de 'La guerre', February - April 1972, no. 114, p. 86 (titled 'La bossue' and with incorrect medium).
Hamburg, Kunstverein in Hamburg, Otto Dix - Zeichnungen, Aquarelle, Grafiken, Kartons, April - June 1977, no. 39, pp. 69 (ill.) & 131 (with incorrect medium and dimensions).
London, Hayward Gallery, Neue Sachlichkeit and German Realism of the Twenties, November 1978 - January 1979, no. 71, pp. 28 (ill.) & 142 (with incorrect medium).
Munich, Museum Villa Stuck, Otto Dix, August - October 1985, no. 257, pp. 124 (ill.) & 307 (with incorrect medium).
Berlin, Kunsthandel Wolfgang Werner, Otto Dix: Dame mit Nerz und Schleier - Aquarelle, Zeichnungen und Graphik um ein neu entdecktes Bild von 1920, November 1995 - January 1996, no. 3 (ill.; with incorrect medium).
Saint-Paul de Vence, Fondation Maeght, Otto Dix: Metropolis, July - October 1998, no. 149, p. 152 (ill.; with incorrect medium and dimensions).
Regensburg, Ostdeutsche Galerie, Otto Dix: Welt & Sinnlichkeit, October 2005 - January 2006, p. 219 (ill.); then Schaffhausen, Museum zu Allerheiligen, June - October 2006.
New York, The Metropolitan Museum of Art, Glitter & Doom: German Portraits from the 1920s, November 2006 - February 2007, no. 66, p. 195 (ill.; with incorrect medium).

荣誉呈献

Zack Boutwood
Zack Boutwood Cataloguer

拍品专文

In the years that followed World War I, the streets of Germany’s cities were populated by what Otto Dix recognised as certain ‘types’. Having moved to Düsseldorf to become a Master Student at the Art Academy, he witnessed first-hand the impact of defeat on the public. Thus he depicted a world in which the war-wounded, the old, the streetwalkers and criminals co-existed against a background of economic and political instability. Ever the social commentator, Dix satirically pictures this ‘Mädchen’ in Neue Sachlichkeit style as a ‘hunch-backed’ member of the middle classes. With her etiolated legs, hands and arms, her bulging eyes, and outdatedly ornate hair comb, she strives for gaiety yet cuts a hapless figure, forlornly clinging to the tradition of the outing for which dressing up remained a prerequisite.

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