Whenever the New York grind gets me down , I head straight to the Neue Galerie for German and Austrian Art on 87th and 5th for a heaping dose of old European romance and, of course, great art. Admittedly, I am often lured by the smell of apple strudel and hot chocolate mit schlag at the adjacent Café Sabarsky, but I am never disappointed by the museum’s permanent collection and their masterfully curated temporary exhibits. The Neue is currently featuring an exhibit called “Berlin Metropolis: 1918-1933” which opened on October 1st and will run until January 4th. This collection features paintings, photographs, films and other works by the great artists of Germany’s Weimar Republic. This period in between the first and second world wars was a brief, but prolific and innovative time for art and German culture in general.
The exhibition is chronologically divided into five themes that correspond to different aspects of Weimar Berlin: The Birth of the New Republic; A New Utopia; The “Neue Frau” or New Woman; The Crisis of Modernity; and Into the Abyss. This layout successfully illustrates the progression in Weimar society from the vibrant and hedonistic early days to the horrors of the Third Reich.
Upon walking into the “Birth of the New Republic” section, I was greeted by a pig headed mannequin dressed in a military costume suspended from the ceiling: “Prussian Archangel” by John Heartfield and Rudolf Schlichter. This whimsical yet austere figure sets the tone of the room, which features the great works of the Berlin Dada movement by Heartfield, George Grosz, Otto Dix, Hannah Hoch (the only woman in the group), and many other Dadaists.
I was especially drawn to a wild and grotesque series of 11 lithographs by Max Beckmann from 1922 called “A Trip to Berlin”. With titles like “Striptease”, each lithograph is extremely provocative and energetic and transports the viewer to the hustle and bustle of Weimar Berlin.
I definitely learned a lot about Berlin Dada from the first room, but my favorite section of the exhibit by far was the pink tinted room dedicated to the “Neue Fraue,” or New Woman. Not only does this room pay homage to the sophisticated and liberated Berliner woman of the 1920’s, it also showcases the innovative genius of Hannah Hoch.
In addition to Hoch’s clever collages such as “The Bride” (1924) and “Journalists”(1925) below, the room also features gorgeous costumes sketches from Fritz Lang’s Metropolis (1927) production stills from The Prince von Pappenheim (1927), and other posters and images celebrating the glamour and talent of the “Neue Fraue”.
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The exhibit ends on a rather grave note in the “Into the Abyss” room. It features the same Berlin Dadaists as the beginning of the exhibit- Grosz, Heartfield, and Schlichter, but deals with very different subject matter. John Heartfield’s sinister “Adolf and the Superman” (1932) is a far cry from the playful Dada collages from the beginning of the Weimar period.
“Berlin Metropolis” is definitely worth a visit, if not several. I will definitely be back to the Neue to learn more about this culturally explosive time period that unfortunately ended in such horrible tragedy. Should “Into the Abyss” kill your vibe, don’t forget to drown your sorrows in some pistachio and chocolate “Mozarttorte” and hot chocolate at Café Sabarsky. While you can’t take pictures of the art, you are certainly allowed to post your Viennese delights on Instagram (which for the record, taste even better than they look).