German Expressionism can sometimes seem like little more than an exercise in gloom. The National Gallery of Art in Washington, DC’s new exhibition of the movement certainly has its share of angst – Otto Dix’s grim etching of burnt skulls on the battlefields, for example, or Paul Gangolf’s bluntly titled lithograph Koksende Hure (‘Prostitute on Cocaine’) – but also of colour and light. The show
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