2002 Friedrich Wilhelm Bogler Poster, self portrait in a crumpled landscape, Bauhaus and New Objectivity gallery exhibition, wall art decor

2002 Friedrich Wilhelm Bogler Poster, self portrait in a crumpled landscape, Bauhaus and New Objectivity gallery exhibition, wall art decor

This Friedrich Wilhelm Bogler exhibition poster is from the Städtische Wessenberg-Galerie - Stadt Konstanz for a 2002 exhibition featuring Bolger in a self portrait in a vague landscape. It shows his roots in the Bauhaus movement and in the "New Objectivity" (Neue Sachlichkeit).
Dimensions: 25 in x 15 in (63 cm x 38 cm)

The New Objectivity (in German "Neue Sachlichkeit") was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. As these artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.

Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.

What is special about exhibition and gallery posters is that they are an affordable way of getting good, unique art on the walls, as although it is not an artists original, neither is it something that has been mass reproduced.

Because of the age of these posters, there are areas of wear and tear, particularly on the edges. I have done my best to take photos where they are torn. The good news is that when framed, the tears press up well against glass, and edges can be hidden by mats. Any wear picked up from years are part of the charm.

These posters are sent as unframed. They are delivered in a cardboard tube for protection.

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