Results:  1

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  • 10
  • Metropolitan Berlin
    New Objectivity in the 1920s

    Berlin in the 1920s was at once an industrial hub, a stage for nightlife entertainment and a rapidly growing city. It soon became a magnet for the artistic avant-garde. But the Weimar Republic was a new and fragile democracy. Fierce social and political conflicts were a feature of everyday life.

    Art critic Paul Westheim described 1920s Berlin as the “most matter-of-fact of all major European cities”. He was referring to a mood that defined this era. In art too, a more factual style had taken root since the First World War: New Objectivity. Its proponents were keen to depict real conditions accurately and hone an awareness of urban life. Many artists pursuing other styles were likewise inspired by everyday themes.

    The magazine industry thrived in the 1920s. This boosted demand for a new type of photograph. Alongside fashion and commercial photography, a new format proved especially popular: reportage photography. Its factual approach perfectly complemented a more objective style of reporting.

Exhibited Objects

Results:  5

Ohne Titel (Selbstporträt, Fisheye-Aufnahme)
  • Dezember 1935
  • Silbergelatinepapier, Fisheye-Fotografie
  • 11,3 x 11,5 cm (Bildmaß)
Ohne Titel (Fotografen)
  • nach 1932
  • Silbergelatinepapier
  • 29 x 22 cm (Bildmaß)
Selbstbildnis, simultan
  • 1930 - 1931
  • Silbergelatinepapier
  • 28 x 38 cm (Bildmaß)
Ohne Titel (Selbstporträt (Doppelbelichtung) mit dem Gemälde "Symbolische Landschaft III")
  • 1930
  • Silbergelatinepapier
  • 31,3 x 23,3 cm (Bildmaß)
Ohne Titel (Selbstporträt, Berlin)
  • 1929
  • Silbergelatinepapier, Neuvergrößerung von Carlos Richardson vom Original-Negativ, 1978, autorisiert von Lotte Jacobi
  • 23,4 x 16,9 cm (Bildmaß)