Neue Sachlichkeit / New Objectivity (1920s–1930s)
Weimar Germany's sober, unsentimental answer to Expressionist distortion. John Heartfield's photomontages dissected capitalists and fascists with surgical precision; George Grosz and Otto Dix observed the damaged city without flinching. As a poster aesthetic: harsh documentary realism, photographic collage, and the visual grammar of political emergency.
Political content — frame as historical aesthetic; use for events with clear non-partisan framing
Fête poster
Gig poster
