Lot 104 D

“The year 1925 was a decisive one in Ritschl's development as an artist. Over the first half of the twenties, the development in art known as the “New Objectivity” had gained more and more ground. In 1924 Ritschl also moved in this direction because, among other things, it offered him an opportunity to express social criticism. In 1925 his painting “Der Betrunkene”, composition 1924/9, could be seen at the major exhibition “Neue Sachlichkeit” in Mannheim. However, he recognised that this direction in art did not offer him any possibility for further development, due to its strong attachment to the real object. […] In early 1926, from one day to the next, he ceased panting in the style of the New Objectivity and destroyed the pictures he had made up to that time. Only those paintings which were no longer in his possession escaped destruction.” (Maria Velte, Otto Ritschl. Leben und Werk. Mit einem bebilderten Werkverzeichnis der Gemälde von 1919-1969, Koblenz 1970, pp. IX f.).