Pittura Metafisica and the "New Man" in Weimar Art of the Early 1920s
- DOI
- 10.2991/icassee-19.2019.103How to use a DOI?
- Keywords
- German art; Berlin Dada; new objectivity; pittura metafisica; "new man"
- Abstract
The presented article deals with ideological and stylistic interrelations of Weimar art of the early 1920s with Italian metaphysical painting. The author examines in details the texts and manifestos of Italian and German artists, revealing the general theoretical views on the art of both sides. The author focuses on the image of the "new man" in German art, which originated in the context of expressionism, and received a different expression and meaning in the early 1920s. With the help of stylistic principles of pittura metafisica, as well as its main character – dummy – German artists have come up with their own version of the "new man". Berlin Dadaists and the representatives of the new objectivity leave behind the metaphysical meaning, that originally laid down in C. Carra’s and G. de Chirico’s mannequins, and put the "new man" in Weimar socio-political realities, thus creating an art of highly topicality.
- Copyright
- © 2019, the Authors. Published by Atlantis Press.
- Open Access
- This is an open access article distributed under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/).
Cite this article
TY - CONF AU - Maria Belikova PY - 2019/11 DA - 2019/11 TI - Pittura Metafisica and the "New Man" in Weimar Art of the Early 1920s BT - Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) PB - Atlantis Press SP - 492 EP - 500 SN - 2352-5398 UR - https://doi.org/10.2991/icassee-19.2019.103 DO - 10.2991/icassee-19.2019.103 ID - Belikova2019/11 ER -