Roaring Frankfurt
Parties, dancing mania and crisis as the primal state of the entertainment industry: Oliver M. Piecha talks about Frankfurt during the 1920s and how...
The focus of the exhibition lies on the unease of the era, which was reflected not only in the motifs and content, but also in a broad spectrum of styles
The focus of the exhibition lies on the unease of the era, which was reflected not only in the motifs and content, but also in a broad spectrum of styles
Direct, ironic, angry, accusatory, and often even prophetic works demonstrate the struggle for democracy and paint a picture of a society in the midst of crisis and transition
Direct, ironic, angry, accusatory, and often even prophetic works demonstrate the struggle for democracy and paint a picture of a society in the midst of crisis and transition
The leading art movement between 1918 and 1933 was New Objectivity, characterized by a precise, realistic mode of painting and socially critical content.
Social tensions, political struggles, social upheavals, as well as artistic revolutions and innovations characterize the Weimar Republic. In a major thematic exhibition the SCHIRN is presenting German art from 1918 to 1933. Direct, ironic, angry, accusatory, and often even prophetic works demonstrate the struggle for democracy and paint a picture of a society in the midst of crisis and transition. Many artists were moved by the problems of the age to mirror reality and everyday life in their search for a new realism or “naturalism.” They captured the stories of their contemporaries with an individual signature: the processing of World War I with depictions of maimed soldiers and “war profiteers,” public figures, the big city with its entertainment industry and increasing prostitution, political unrest and economic chasms, as well as the role model of the New Woman, the debates about paragraphs 175 and 218 (regarding punishability of homosexuality and abortion), the social changes resulting from industrialization, and the growing enthusiasm for sports.
The exhibition assembles 200 paintings by famous artists and others who have been largely neglected to date, including Max Beckmann, Kate Diehn-Bitt, Otto Dix, Dodo, Conrad Felixmüller, George Grosz, Carl Grossberg, Hans and Lea Grundig, Karl Hubbuch, Lotte Laserstein, Alice Lex-Nerlinger, Elfriede Lohse-Wächtler, Jeanne Mammen, Oskar Nerlinger, Franz Radziwill, Christian Schad, Rudolf Schlichter, Georg Scholz, and Richard Ziegler. Together with historical films, magazines, posters, and photographs the exhibition provides an impressive panorama of a period that even today, 100 years after its advent, has lost nothing of its relevance and potential for discussion.
Apart from compressively exploring the history of the inter-War years, the catalog provides exciting and sound insights into a time of political, social and cultural upheavals from the entertainment industry, via the role of the “new woman” through to a renewed enthusiasm and new definition of sport
Parties, dancing mania and crisis as the primal state of the entertainment industry: Oliver M. Piecha talks about Frankfurt during the 1920s and how...
In the second part of the series on film in the Weimar Republic, the SCHIRN MAG presents seven must-see films from this era.
Homeland kitsch and horseplay, cinematographic art and social critique, political leanings of all kinds – in a two-part series, the SCHIRN MAG...
Germany’s first ever radio program was broadcast in 1923 with the aim to create a nation of culture. But it didn´t take long before it´s potential as...
A young woman studies at the Bauhaus in Weimar and Dessau and struggles not only for a redefinition of art, but also for self-determination as a...