In recent years, Grisebach has become renowned for exceptional New Objectivity portraits. Anton Räderscheidt’s “Haus Nr. 9” subtly captures inner torment against the backdrop of the roaring twenties’ external dynamism, while his self-portrait in a black suit conveys a quiet, armoured introspection. Rudolf Schlichter’s portrait of Helene Weigel, which emancipates itself not only from utopian ideals but also from traditional gender roles, belongs in this group. Curt Querner’s meticulous facial landscapes reveal the hidden histories etched into every wrinkle, Schlichter’s “Speedy” evokes a playful exploration of female identity, and Hans Grundig’s “Schüler mit roter Mütze” reflects the vacant gaze of weary youth, recognising that the best moments of life may already lie behind them. Loss of utopia, emotional control, the play with identities and liberation from prescribed roles are the central themes of these New Objectivity portraits – and, in many ways, of our current twenties as well.