000			02211cam a2200289zu 4500
001			88924199
003			FRCYB88924199
005			20250107180751.0
006			m o d
007			cr un
008			250107s2022 fr | o|||||0|0|||eng d
020			_a9781800791237
035			_aFRCYB88924199
040			_aFR-PaCSA _ben _c _erda
100	1		_aReimers, Anne
245	0	1	_aOtto Dix and Weimar Media Culture _bTime, Fashion and Photography in Portrait Paintings of the Neue Sachlichkeit _c['Reimers, Anne', 'Weikop, Christian']
264		1	_bPeter Lang _c2022
300			_a p.
336			_btxt _2rdacontent
337			_bc _2rdamdedia
338			_bc _2rdacarrier
650		0	_a
700	0		_aReimers, Anne
700	0		_aWeikop, Christian
856	4	0	_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88924199 _qtext/html _a
520			_aOtto Dix (1891–1969) was a leading figure of the Neue Sachlichkeit movement in painting in 1920s Germany. This groundbreaking study analyses for the first time in depth the relationship between Dix’s verist-realist portrait paintings and the rapidly expanding mass media culture of the Weimar era. Focusing on a selection of portraits created in the first half of the 1920s, the book explores four specific aspects: the way in which Dix engaged with fashion and celebrity culture; how he responded to the challenge posed by photography; how he dealt with a situation where black-and-white reproductions were the most common medium through which diverse audiences encountered his work, and the ways in which Dix’s career development ran in parallel with the commentary on his artistic production in journalistic and specialist media publications. Temporality, medium-specificity and reproduction are identified as concerns that drove his aesthetic responses to a historically specific environment. New archival material, letters and interviews by the artist, and a wide range of publications by art critics, cultural theorists and art historians of the Weimar era are drawn on to reveal new information about key paintings such as Self-Portrait with Nude Model (1923) and Portrait of the Dancer Anita Berber (1925).
999			_c52710 _d52710