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Dix became a professor at the
Dresden Academy in 1927. He started working on the triptych soon after the tenth anniversary of the end of the First World War, as a reaction to the popular public perception of the war as a heroic experience. The painting was first exhibited at the autumn exhibition of
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From left to right, the left wing depicts a column of German soldiers marching away from the viewer through the fog of war towards the battle in the central scene. The central panel shows a devastated urban landscape scattered with war paraphernalia and body parts, reworking the themes in his 1923
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below the main central panel. The large central panel is a 204 cm (80 in) square; the flanking panels to either side the same height but half the width, 102 cm (40 in) each; and the predella below the central panel has the same width but is only 60 cm (24 in) high.
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with a living side to the lower left and a dead side to the upper right. A skeletal figure floats above the scene, pointing to the right, with a soldier in gas mask below, and scabrous legs upended to the right, recalling the legs of Christ in GrĂĽnewald's crucifixion scene. The right wing shows
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The painting uses a restricted palette of mainly dark colours, with cold greens, greys, and whites for death and decay, and warm reds and oranges for blood, destruction and shellfire.
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several figures withdrawing from the fight. A dominant greyish figure, helping a wounded comrade, is a self-portrait of Dix, in a composition similar to a
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Tatar, Maria. "Fighting for Life: Figurations of War, Women, and the City in the Work of Otto Dix." German
Politics & Society, no. 32 (1994): 28–57.
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that Dix created after 1920 was inspired by his horrific experiences in the trenches. Before this triptych, he completed his large anti-war painting
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in 1923, which caused great controversy when first exhibited, and he published a portfolio of fifty prints also entitled
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Dix was an art student in
Dresden before the First World War. He was conscripted in 1915, and served in the
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since 1968. It is one of several anti-war works done by Dix in the 1920s, inspired by his experience of
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by the Nazi Party, but the triptych was hidden by Dix and survived. Several of Dix's preparatory
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174:. The format of the work and its composition are based on religious triptychs of the
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as a machine gunner on the
Eastern and Western Fronts. He returned to study at the
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Otto Dix, Der Krieg: Mitteltafel - Karton zu dem
Triptychon "Der Krieg", 1930
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The triptych has three main panels, with a fourth as a supporting panel or
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46:but its sources remain unclear because it lacks
152:(German: "Der Krieg"), sometimes known as the
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398:Otto Dix: Der Krieg - das Dresdner Triptychon
388:, Otto Dix 1929–32, Google Arts & Culture
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540:Portrait of the Journalist Sylvia von Harden
362:The Bulletin of the Cleveland Museum of Art
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640:The Painter Otto Dix and His Wife, Martha
77:Learn how and when to remove this message
575:Stormtroopers Advance Under a Gas Attack
358:"Otto Dix and His Oil-Tempura Technique"
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317:The Body of the Dead Christ in the Tomb
252:Many of Dix's works were condemned as
414:https://www.jstor.org/stable/23736326
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394:, Staatliche Kunstsammlungen Dresden
297:, and divided like the 16th-century
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668:Staatliche Kunstsammlungen Dresden
218:art group, and then supported the
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524:The Art Dealer Alfred Flechtheim
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162:painting by the German artist
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212:Dresden Academy of Fine Arts
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356:Miller, Bruce F. (1987).
166:on four wooden panels, a
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322:Hans Holbein the Younger
32:This article includes a
272:in Dresden for 500,000
61:more precise citations.
643:(1925-1926 photograph)
403:OTTO DIX (1891-1969),
392:Der Krieg (Triptychon)
308:descent from the cross
247:Berlin Academy of Arts
127:Oil an tempera on wood
663:Paintings by Otto Dix
532:Hugo Erfurth with Dog
268:was purchased by the
158:, is a large oil and
420:Unpacking a painting
270:Galerie Neue Meister
262:Hamburger Kunsthalle
208:Imperial German Army
184:Galerie Neue Meister
155:Dresden War Triptych
136:Galerie Neue Meister
16:Triptych by Otto Dix
299:Isenheim Altarpiece
303:Matthias GrĂĽnewald
220:post-expressionist
216:Dresdner Sezession
180:Matthias GrĂĽnewald
34:list of references
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53:Please help
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551:(1927–1928)
511:(1920–1923)
280:Description
176:Renaissance
59:introducing
657:Categories
627:Martha Dix
567:Engravings
548:Metropolis
508:The Trench
407:engravings
343:References
295:The Trench
232:The Trench
202:Background
500:To Beauty
468:Paintings
405:Der Krieg
374:0009-8841
276:in 1968.
249:in 1932.
241:in 1924.
238:Der Krieg
119:1929–1932
67:June 2020
461:Otto Dix
331:See also
286:predella
258:cartoons
172:predella
168:triptych
164:Otto Dix
132:Location
110:Otto Dix
635:(model)
615:Related
594:Museums
583:The War
556:The War
386:The War
266:The War
194:in the
188:Dresden
160:tempera
149:The War
140:Dresden
92:The War
55:improve
629:(wife)
586:(1924)
578:(1924)
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106:Artist
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