「客觀？何謂客觀？藝術家有誰是完全客觀的？相較於表現主義以及抽象繪畫，這個世界上存在的可觸摸與感知的物質基礎，更為實際，也是現實。」這是1965年一段訪談中迪克斯的自白，奧托．迪克斯被稱為是新客觀主義的代表畫家。新客觀主義是發生於德國威瑪共和時期的藝術運動，被視為是對表現主義的反動。自十九世紀末受到前衛藝術的啟發，藝術家們開始對於人性進行深刻的反思，在動蕩不安的社會之中，新客觀主義以冷酷的凝視引起了風潮。迪克斯的藝術創作很大程度地受到當時社會流行的哲學思潮之影響，因此本文欲從思想層面進行理論上的探究，嘗試探索新客觀主義於藝術史上的真正價值。
“Objective...who's objective, after all? I mean, is there any artist who is truly objective? Of course, in contrast to Expressionism and the later abstract style, the world of objects seems close to factual reality. The strong emphasis on the subject matter, on the material, in my work at the time might have been called objective, for example, tangible matters.” This is an interview in 1965 in the confession of Dix, Otto. Dix is known as a representative of New Objectivity painter. New Objectivity is an art movement that took place during the Weimar Republic in Germany and it is seen as a reactionary to expressionism. Inspired by avant-garde art since the end of the nineteenth century, artists began rethinking of human nature, and in a turbulent society, New Objectivity sparked a wave of emotionless gaze. Dix's artistic creation was influenced mainly by the popular philosophical thoughts of the time. Therefore, this article tries to explore the theoretical aspects of the ideological level and to find the true value of the New Objectivism in the art history.
