What makes this picture typical of the style of the German “Neue Sachlichkeit”?
Claudia Mörth-Gasser: It comes down to the sharp-edged style, the sharpness of contours, the richly detailed depiction of objects and the demure, distanced way of representation. At the same time, the painting emanates calm and order, the stillness of the figure is a dominant aspect. Other typical themes of the Neue Sachlichkeit style are the representation of a child and the placement of toys like objects in a still-life.
What were these artists after?
Barbara Berger: After WW1, people craved calm and order, they remembered the comfort that lies in still objects. Distance is another important aspect – it came from the human need to distance oneself from traumatic experiences and social conflicts in the time of between-wars. One hoped for a renewed world that was observable and understandable.
On the other hand, The Neue Sachlichkeit style is also a reaction to the German Expressionists. The painter of the Neue Sachlichkeit formed the anti-thesis to the wild and gestural style of the Expressionists.
What can be said about the style in which these artists painted?
CMG: Looking back to depicting still objects was akin to looking back into old painterly traditions. Pauser especially was a profound expert of these old techniques, above all the glaze technique. He had been taught by the renowned conservator Max Dörner in Munich. This special technique modelled on the Old Masters is lending this characteristic polish to the surface. During a time consuming process, the painter puts many thin layers on top of each other – again, a very conscious turning away from the dynamic of the Expressionists!
Why is this cool depiction of reality becoming fashionable again?
CMG: Without doubt, the interesting parallel to our time is this culture of distancing. This is what happens to us now regarding social distancing especially. And this is why these works touch a nerve.
What in this picture is arresting to you?
BB: One needs to take his time to really see that picture. It wakes in me a feeling of impotence and sadness. First, one is busy taking all these many objects in, but quickly one gets stopped by the rigid look of the child, devoid of all emotion. There is no visible human emotion: the child being just another object among many.
(Alexandra Markl)