Lotte Laserstein

I came across Laserstein's work this summer while in and around Germany and fell in love. I had never heard the name before and, but I was struck by Evening Over Postdam (1930), though only pursued it recently. I will admit, I have a soft spot for Neue Sachlichkeit, so I suppose my fondness is hardly surprising, however she does have a sort of Freud-y painterly technique a tad peculiar for New Objectivity which gives one pause, but also sets her work apart. After some cursory research I found her later work to be unbeaqribly saccrine, more domestic portraiture than Dix's brutal realism, still I would place her earlier works among the greatest to have been produced by the movement that I hold so dear.