German painter Otto Dix portrayed his subjects with a hard-edged, detached realism, accentuating unattractive features and signs of age. Since this portarit, The Businessman Max Roesberg, Dresden (1922) was a commission, his treatment of his subject was rather kind. Dix highlights Roesberg’s business prowess — which was short-lived — in several ways. The room is cluttered with materials central to a productive professional practice, such as a telephone, calendar, and tools for correspondence,while the palette of greens and blues alludes to rh coorof money. Moreover, Roesberg’s body is almost completely obscured by his business suit — a mark of his professional identity.
Photographed in the Metropolitan Museum of Art in NYC.