neueste-sachlichkeit-blog

[neueste-sachlichkeit-blog]

House Staehelin (1957-58) in Feldmeilen, Switzerland, by Marcel Breuer and Herbert Beckhard

[neueste-sachlichkeit-blog]

Dragons over a Flame by Oskar Kokoschka

[neueste-sachlichkeit-blog]

Fortis Bank. Brussels, October 2015.

[neueste-sachlichkeit-blog]

Créteil, France © Damien Gosset

[neueste-sachlichkeit-blog]

Administrative Building (1955) of the Department Store “Hertie” in Berlin, Germany, by Hans Soll

[neueste-sachlichkeit-blog]

Caja León Building, León, Spain.

(Arch. Galán Carvajal, 1975)

Photo by Carlos Traspaderne with Hasselblad 500 C/M & Kodak film.

[neueste-sachlichkeit-blog]

[neueste-sachlichkeit-blog]

George Grosz, Suicide, 1916.

[neueste-sachlichkeit-blog]

Otto Dix, Three Prostitutes on the Street, 1925.

[neueste-sachlichkeit-blog]

George Grosz, The Pillars of Society, 1926.

[neueste-sachlichkeit-blog]

Concrete by Karl Völker, 1924.

Karl Völker (17 October 1889 – 28 December 1962) was a German architect and painter associated with the New Objectivity movement.

He was born in Halle, Saxony-Anhalt and, after an apprenticeship as an interior decorator, studied in 1912-1913 at the Dresden School of Arts and Crafts where Richard Guhr was his teacher. He joined the Berlin “Red Group” in 1924, and was a contributor to the journal Das Wort. His early paintings, such as Industriebild (Industrial Picture, 1923) are in a constructivist style.

He worked as an architect until 1933, when Hitler took power. Declared a degenerate artist by the Nazis, he was forced to support himself from 1933-1943 performing architectural conservation work.

After military service in World War II he resumed working as an architect and painter. He died in Halle in 1962.

Source of picture: junglekey.de

Source of text: Wikipedia

[neueste-sachlichkeit-blog]

Self-Portrait with Champagne Glass, Max Beckmann, 1919

[neueste-sachlichkeit-blog]

Mercedes. ca. 1914. Ludwig Hohlwein.

31 ¼ x 38 3/8 in./79.3 x 97.5 cm

This is the only known copy of Hohlwein’s triumphant introduction to the 1914 Mercedes 28/95. This artwork does not appear in any book of Germany’s most famous posterist; we do not know of another copy in any collection the world over. For Mercedes’ most exclusive, most powerful auto model of 1914, Hohlwein took the cabriolet’s top down, allowing our eyes to rise from the form of the car to the craggy, sublime Alps to which the driver is pointing: “Up there! We shall take it up there!” It’s a clever allusion to the 28/95’s innovative engine, with its overhead camshaft and valves arranged in a V-position – a design copied from the Daimler DF-80 aircraft engine. While Hohlwein created two other Mercedes ads in 1914 (for different model autos), the outbreak of the Great War sharply curtailed production of the 28/95 and, we suspect, suspended distribution of Hohlwein’s poster. Quite possibly unique.

Available at Auction March 12.

[neueste-sachlichkeit-blog]

Office Building of the insurance company “Iduna” (1957-61) in Münster, Germany, by Friedrich Wilhelm Kraemer

[neueste-sachlichkeit-blog]

New Court, Christ’s College, Cambridge University, Cambridge, UK, 1966-70

(Denys Lasdun)

[neueste-sachlichkeit-blog]

Berlin, Germany © Damien Gosset

[neueste-sachlichkeit-blog]

Interior of Christuskirche (1956-59) in Bochum, Germany, by Dieter Oesterlen