[Dieser Psalm wurde von Josef Luitpold geschrieben ; von O.R. Schatz in den Jahren 1926-1927 in Holz geschnitten]
Berlin : Verlag Büchergilde Gutenberg, [1927?] (Berlin : Buchdruckwerkstätte G.m.b.h.)
 p. : ill. ; 43 cm.
PT2639 .T479 N48 1927 F ARTLCKL
Following closely after Expressionism, Neue Sachlichkeit [New Objectivity] emerged in Germany as a loose association of artistic sentiments promulgated by painters and illustrators, as well as photographers, architects, and writers. Although manifestations of this “style” vary, it can be typified by its emphasis on realism vs. abstraction or romanticism, its utilization of pre-machine age techniques and genres, and its comparatively sober reaction—explicit or implied—to the tumultuous political events of the post-WWI Weimar era.
Die Neue Stadt is both a representation of New Objectivity’s articulation in Austria and a demonstration of Expressionism’s continuing aesthetic influence there. The text is steeped in the ideals of social democracy, a relatively moderate political ideology popular in Germany, Austria, and elsewhere before and after World War I. The poem takes the form of a modern psalm; Luitpold Stern believed that the political and social rebirth he envisioned for Vienna could be encompassing and transcendent. Otto Rudolf Schatz’s illustrations reiterate this optimistic social bent, representing as they do citizens undertaking symbolic activities of reconstruction, collective study, and political assembly. The images’ appearance, however, is more typically Expressionist, echoing the work of German printmakers such as Erich Heckel, Gerhard Marcks, and Conrad Felixmüller.
Die neue Stadt.