All art is exorcism. I paint dreams and visions too; the dreams and visions of my time. Painting is the effort to produce order; order in yourself. There is much chaos in me, much chaos in our time.
Der Krieg itself, as a cycle of prints (51 in total), is consciously modelled on Goya’s [1746–1828] equally famous and equally devastating Los Desastres de la Guerra [The disasters of war]. Los Desastres detailed Goya’s own account of the horrors of the Napoleonic invasion and the Spanish War of Independence from 1808 to 1814. Goya’s cycle of 82 etchings, which he worked on for a decade after the Spanish War of Independence were not, however, published until 1863, long after his death. Like Los Desastres, Der Krieg uses a variety of etching techniques and does so with an equally astonishing facility. Similarly, it exploits the cumulative possibilities of a long sequence of images and mirrors Goya’s unflinching, stark realism in terms of its fundamental presentation. GH Hamilton describes Dix’s cycle as ‘perhaps the most powerful as well as the most unpleasant anti-war statements in modern art… It was truly this quality of unmitigated truth, truth to the most commonplace and vulgar experiences, as well as the ugly realities of psychological experience, that gave his work a strength and consistency attained by no other contemporary artist, not even by [George] Grosz…’ It has become a commonplace to see this cycle as an admonition against the barbarity of war. And there is no doubt that as a human document it is a powerful cautionary work. At a psychological level, however, its truth goes deeper than this. Dix was both horrified and fascinated by the experience of war.
The series is produced in full below.