Georg Schrimpf, born on February 13, 1889, in Munich, Germany, emerged as a pivotal figure in the art movement known as Neue Sachlichkeit (New Objectivity), which flourished in Weimar Germany from 1919 to 1933. This movement, developing as an outgrowth of Expressionism, sought to capture the reality of the Weimar Republic era with a new level of honesty and directness. Schrimpf, alongside contemporaries such as Otto Dix, George Grosz, and Christian Schad, became widely recognized for his contributions to this movement. His work, however, was not without controversy; the National Socialist government of the 1930s deemed him a producer of "Degenerate Art," leading to the removal of his works from German museums. Schrimpf's early life was marked by hardship and a relentless pursuit of his artistic passion. Following the death of his father before his birth, Schrimpf faced a challenging upbringing. His stepfather later forced him to leave home, pushing him into an apprenticeship as a baker in Passau in 1902. Despite these early challenges, Schrimpf's inclination towards art was undeniable. From 1905 to 1914, he traveled extensively through Belgium, France, Switzerland, and Northern Italy, working in various capacities such as a waiter, baker, and coal shoveler. It was during this period, in 1913, that he lived in an anarchist colony in Switzerland, forming a significant friendship with Oskar Maria Graf, a fellow baker who would later gain fame as a novelist. Schrimpf's artistic journey was largely self-taught, driven by an insatiable desire to draw, paint, and carve. His move to Berlin in 1915 marked a turning point in his career. Despite working in a chocolate factory, he dedicated every spare moment to his art, eventually catching the attention of Herwarth Walden, a renowned publicist and art expert. Walden's gallery, Der Sturm, hosted Schrimpf's first exhibition in 1916, showcasing his paintings and woodcarvings to much acclaim. This period also saw Schrimpf's marriage to Maria Uhden, a fellow painter and graphic artist, in 1917. Their union, however, was short-lived, as Uhden passed away in 1918 due to complications from childbirth. Throughout the 1920s, Schrimpf's work gained recognition for its distinctive style, characterized by clean outlines, tender coloring, and a profound sense of stillness. His art often depicted women and landscapes, imbued with a timeless, poetic realism. This style was influenced by his admiration for Renaissance art and his interactions with the Valori Plastici group, particularly Felice Casorati. Schrimpf's friendship with Carlo Carrà, who wrote a biography about him in 1924, further solidified his approach towards a more romantic trend within the New Objectivity movement. Despite his leftist political views, Schrimpf's work remained apolitical, focusing instead on the beauty of everyday life and nature. His landscapes and portraits of women, devoid of the bustling city life or social critique, offered a serene escape from the tumultuous reality of the time. Schrimpf's contributions to the art world were not limited to his paintings; he also played an active role in the Munich Räterepublik (Bavarian Soviet Republic) and briefly joined the Communist Party of Germany. In 1933, Schrimpf was appointed as a professor at the Westenriede-Gewerbeschule in Berlin-Schönberg, a position he held until his dismissal in 1937 due to his "red past." The Nazi regime's crackdown on his work culminated in his inclusion in the infamous Degenerate Art Exhibition in 1937. Despite these challenges, Schrimpf continued to create art that resonated with a sense of tranquility and harmony. His legacy, marked by a unique blend of realism, expressionism, and a touch of romanticism, remains a testament to his enduring impact on the art world. Georg Schrimpf passed away on April 19, 1938, in Berlin, leaving behind a body of work that continues to captivate and inspire.

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