Otto DIXVERLAG KARL NIERENDORF, Soldat und Nonne (Vergewaltigung) [Soldier raping a nun], plate 51 from Der Krieg Enlarge 1 /1

Otto DIX

Germany 1891 – 1969

artist

  • Switzerland

VERLAG KARL NIERENDORF

publisher (organisation)

Soldat und Nonne (Vergewaltigung) [Soldier raping a nun], plate 51 from Der Krieg Description: plate 51 from the portfolio Der Krieg [War], a portfolio of 50 prints in 5 parts, plus 1 additional print
Place made: Berlin, Germany
Materials & Technique: prints, Intaglio etching, aquatint and drypoint, printed in black ink. Support: BSB-Maschinen-Butten
Manufacturer's Mark: BSB
Edition: ed. 59/70
Publisher: VERLAG KARL NIERENDORF
Place Published: Berlin
Date Published: 1924

Edition Notes: printed by Kupferdruckerei O. Felsing, Charlottenburg, Berlin This work from edition 59
Primary Insc: l.l.c - 58/70; l.c - XI; l.r.c - signed in pencil by the artist
Dimensions: plate 20.0 h x 14.0 w cm sheet 47.5 h x 35.3 w cm
Acknowledgement: The Poynton Bequest 2003
Accession No: NGA 2003.352.51
Subject: Art style: Expressionism
Image rights: © Otto Dix. Licensed by Viscopy

Soldier raping a nun was suppressed from the original War portfolio on its publication in 1924 on the advice of Dix's publisher Karl Nierendorf. He believed it would be seen as a 'slap in the face for all those who celebrate our "heroes" [and]... for all those who have a bourgeois conception of a front-line soldier.' Nierendorf had similar reservations about plate 34, Frontline soldiers in Brussels and plate 36, Visit to Madame Germaine in Mericourt both of which depict soldiers visiting a brothel.
According to Nierendorf, an image such as Soldier raping a nun could 'threaten the whole work with confiscation... People will make this one print into the target of their attacks.'
This image is perhaps the least successful of the cycle. Whereas the brothel images may have been authentic in terms of Dix's own observed experience - he was a famous frequenter of such places - Soldier raping a nun is unlikely to have been. It is anecdotal. While such events no doubt occurred, it is also open to the less convincing symbolic reading of mindless brutality triumphing over pure innocence. This, and its almost caricatured voyeuristic content, is in stark contrast to the sense of authentic observation that informs the rest of the portfolio.


Text © National Gallery of Australia, Canberra