奥托·迪克斯简介

奥托·迪克斯(Otto Dix)

艺术家: 奥托·迪克斯

生于: 1891年12月02日；德国Gera

卒于: 1969年7月25日；德国Singen

国籍: 德国

流派: 即物主义

领域: 绘画,版画

受影响: Dada

影响: 卢西安·弗洛伊德

朋友: 乔治·格罗茨

机构: 德累斯顿美术学院，德国德累斯顿，

奥托·迪克斯是二十世纪德国杰出的艺术家。他在新客观主义运动中居于主导地位，从浪漫主义和表现主义的思想转向更为酸性和非情感性的观点，以反映战时德国社会的残酷现实。狄克斯虽然是反表现主义运动的代表，但他在绘画和蚀刻作品中加入了许多风格，包括表现主义。他的作品也受到达达主义、立体主义和未来主义的影响，塑造了艺术家的讽刺和野蛮风格。狄克斯的故事始于家乡杰拉（1906），在那里，他的艺术和手工艺学徒生涯始于他的老师卡尔·塞夫，他使奥托的第一幅风景栩栩如生。在完成学徒学习后不久，他申请了德累斯顿工艺美术学院，因为工业工艺品受到战前社会的极大重视，而损害了美术。狄克斯远景的一个重要部分是在第一次世界大战中形成的，当时这位艺术家自愿参加，并在战壕中赢得了荣誉。他寄了一些明信片来记录战争年代，这些明信片描绘了可怕的战斗场面，轰炸过的土地，以及被炮弹击中的同志。

正如这位艺术家所描述的，他是一个现实主义者，他急需亲身体验一切，然后才能改变或传达任何我。他的绘画中的圣洁。他对战壕的创伤采取了一种出人意料的超然的态度，在他的绘画作品中，如1920年的《画皮匠》(The Skat Players(1920)，以及后来的蚀刻集《画皮》(Der Krieg(1924)。尽管这位艺术家在第一次世界大战中处于第一线，但他在恐怖和破坏中找到了美，甚至在别人只看到战争恐怖的地方带来了兴奋。狄克斯被任命为怪诞的赞助人，但他欣然接受，并继续揭露魏玛共和国的不道德和缺乏道德。

这位艺术家希望描绘战后生活的衰落，因为德国资产阶级正挣扎于高通货膨胀、失业和可怕的绝望之中。战争残废者和残废的老兵。艺术家在他那个年代的作品中经常提到的主题是当时的“美女”，常常是裸体的，她们的缺点被夸大到漫画的程度（布鲁塞尔镜厅记忆>/i">，1920），士兵在战争中被肢解（布拉格街Dontrien附近的火山口>,1924)以及魏玛社会的堕落(Metropolis,1927-1928)。随着纳粹掌权的黑暗日子越来越近，迪克斯从20世纪20年代开始声名狼藉，他的作品被剥夺了价值，并受到政权的审查。他辞去了德累斯顿美术学院大学教授的职务，他的作品被列入“恣意艺术”展览，展出了所有不符合纳粹标准的艺术品。他的特色风格。他更多地关注景观，以符合元首和39定律的要求。这位艺术家在战争结束后被委派再次作战，后来被法国人囚禁。奥托回到了艺术界受政治束缚的双面德国，他在东方的职业关系和他在西方的家之间被撕裂了。当东德转向以劳动为主题的社会主义艺术时，西德艺术世界转向了美国以及抽象表现主义等新的艺术运动。在一个不再适合他的世界里，狄克斯努力推销他的艺术，因为他现实主义风格的尖锐、扭曲的边缘变得直白。

奥托·狄克斯被认为是德国新客观主义运动的关键人物，他勇于描绘两场残酷战争的未经审查的版本。他以讽刺、荒诞的人物和题材通过自己的艺术作品直接表述了一个荒凉、堕落的社会。

Artist :Otto Dix

Additional Name :Wilhelm Heinrich Otto Dix

Born : Gera, Germany

Died : Singen, Germany

Nationality :German

Art Movement :New Objectivity (Neue Sachlichkeit)

Field :painting,printmaking

Influenced by :artists-by-art-movement/dada

Influenced on :lucian-freud

Friends and Co-workers :george-grosz

Art institution :Dresden Academy of Fine Arts, Dresden, Germany

Otto Dix was a remarkable artist of the 20th century Germany. He occupied a lead position in the New Objectivity movement, turning away from the ideas of Romanticism and Expressionism toward a more acidic and non-sentimental perspective to reflect the harsh realities of the interwar German society. Though being a representative of the anti-expressionist movement, Dix incorporated numerous styles into his paintings and etchings, including Expressionism. His works were also influenced by Dadaism, Cubism and Futurism, all of which shaped the artist’s satirical and savage style.

Dix’s story started in his hometown of Gera (1906), where his arts and crafts apprenticeship began with his teacher, Carl Senff, giving life to Otto’s first landscapes. Shortly after finishing his apprentice studies, he applied to Dresden’s Academy for crafts and arts, as industrial crafts were greatly valued by the society of the pre-war era to the detriment of the fine arts. An important part of Dix’s vision was shaped in the First World War, as the artist volunteered to take part and actually earned distinctions fighting in the trenches. He documented the years of war by sending postcards which depicted the macabre fighting scenes, bombarded lands, and shell-shocked comrades.

As the artist described himself, he was a realist, and had an acute need to experience everything first hand, before he could transpose or convey any message within his paintings. He took a surprisingly detached approach to the trauma of the trenches, depicted thoroughly in his paintings such as The Skat Players (1920), but also subsequently in the etching collection titled Der Krieg (1924). Even though the artist was in the first line of fire in the World War I, he managed to find beauty in terror and destruction, and even to bring excitement where others would only see horrors of war. Dix was named a patron of the grotesque, but he embraced it and continued to expose the immorality and lack of ethics of the Weimar Republic.

The artist wished to portray the decay of the post-war life, as German bourgeoisie struggled through high inflation, unemployment, and the macabre display of war cripples and mutilated veterans. Frequent themes that the artist covered in his work, in his time, are the “fair ladies” of the time, often depicted nude, and their defects exaggerated to the point of caricature (Memory of the Halls of Mirrors in Brussels, 1920), soldiers mutilated in the war (Prague Street, 1920) or the horrific aftermaths of the battlefields (Crater field near Dontrien, 1924) and also depravity of the Weimar society (Metropolis, 1927-1928). As the dark days of the Nazis coming to power grew closer, Dix’s notoriety from the 1920’s fell apart, and his artworks were stripped of value and censored by the regime. He was removed from his position of university professor at Dresden Academy of Fine Arts, and his work was included in the Entartete Kunst (degenerate art) show, where all artworks that were not within the lines of the Nazi standards were displayed.

During the World War II, Dix had to tone down his characteristic style. He concentrated more on landscapes, to fit the requirements of the Fuhrer's laws. The artist was commissioned to fight again when the war was almost over, and was later imprisoned by the French. Coming home to a two-sided Germany, where the art world was bound by politics, Otto was torn between his professional relations in the East, and his home in the West. While Eastern Germany turned to the socialist aspect of art, focused on the labor theme, the Western Germany art world shifted toward the United States and new art movements, such as Abstract Expressionism. In a world where he did not fit anymore, Dix struggled to sell his art, as a sharp, distorted edge of his realistic style became blunt.

Otto Dix is regarded as a pivotal figure for the New Objectivity movement in Germany, who had the courage to portray the uncensored versions of two harsh wars and a bleak, depraved society in between, using his satirical and grotesque characters and themes to make a direct statement through his artwork.