Abstract
Throughout the Weimar Republic, the modern realist painters associated with the New Objectivity explored the effects of surface materiality and psychological detachment as they depicted the popular social type of the New Woman looking sachlich—sober, sporty, practical, and functionally dressed. The fashionable surfaces of Lotte Laserstein’s New Woman pictures provide an opportunity to reevaluate Neue Sachlichkeit painting, which has historically centered on the male painters Otto Dix, Christian Schad, George Grosz, and Anton Räderscheidt. Laserstein emphasizes the sensuousness of clothing and corporeality to portray the New Woman as an embodied subject who negotiated the conditions of Weimar modernity.
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