![[otto_dix_reclining_woman_on_a_leopard_skin.jpg]] Dix was a key supporter of the [New Objectivity (Neue Sachlichkeit)](https://www.tate.org.uk/art/art-terms/n/neue-sachlichkeit) movement, a name coined after an exhibition held in Mannheim, Germany in 1925. Described by art historian G.F. Hartlaub, as ‘new realism bearing a socialist flavour’, the movement sought to depict the social and political realities of the Weimar Republic. Speaking in 1965, Dix said: > We want to see things completely naked, clear, almost without art. I invented the New Objectivity. He marked the war’s 10th anniversary with a group of etchings entitled Der Krieg (The War), leaving few of the horrors of the front line to the imagination. Commenting later, he said: > For years, [I] constantly had these dreams in which I was forced to crawl through destroyed buildings, through corridors through which I couldn’t pass. The rubble was always there in my dreams. When the [[Nazis]] came to power in 1933, Dix was dismissed from his professorship teaching art at the Dresden Academy, where he had worked since 1927. The reason given was that, through his painting, he had committed a ‘violation of the moral sensibilities and subversion of the militant spirit of the German people’. In the years following, some 260 of his works were confiscated by the Nazi Propaganda Ministry. Several of these works, including _The Jeweller Karl Krall_ 1923 (which features in the Tate Liverpool exhibition [_Portraying a Nation_](https://www.tate.org.uk/whats-on/tate-liverpool/portraying-nation-germany-1919-1933)), appeared in the _Entartete Kunst_ ([degenerate art](https://www.tate.org.uk/art/art-terms/d/degenerate-art)) exhibition of 1937–8. The exhibition was staged by the Nazis to destroy the careers of those artists they considered mentally ill, inappropriate or unpatriotic.