His work, influenced by Otto Dix, Max Beckmann, Diego Rivera, Goya, and José Clemente Orozco, have sold to private and public collectors such as University College Cork and Cork Institute of Technology.
Following the Holocaust of World War II, Otto Dix portrayed himself as the suffering Christ in a concentration camp, in Ecce Homo with self-likeness behind barbed wire (1948).
At the end of 1919 Wollheim and Pankok went to Düsseldorf and became founding members of the "Young Rhineland" group, which also included Max Ernst, Otto Dix, and Ulrich Leman.
He also participated in the German Expressionists exhibition in Darmstadt that year.
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In 1924, he joined the Berlin Secession; by this time he was developing an increasingly realistic style of painting that used thin glazes of oil paint over a tempera underpainting, in the manner of the old masters.
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He became a founder of the Dresden Secession group in 1919, during a period when his work was passing through an expressionist phase.
Born in Düsseldorf, he became interested in painting at an early age and in 1919 he co-founded the group "The Young Rheinland" with other young painters of the day, including Otto Dix and Gert Heinrich Wollheim.
After the war, he continued his publishing activities and also founded an art gallery, Grosz-Galerie, and a bookshop, as well as helping to organize the First International Dada Fair in 1920, which included works by Hans Arp, Max Ernst, Georg Scholz, Johannes Theodor Baargeld, and Otto Dix.
Otto von Bismarck | Otto | Otto III | Otto Piene | Otto I, Holy Roman Emperor | Otto I | Otto Preminger | Fort Dix | Otto II | Otto Dix | Otto Natzler | Otto II, Holy Roman Emperor | Otto Binder | Otto Skorzeny | Otto Schenk | Otto of Brunswick | Otto Kerner, Jr. | Otto Steinbrinck | Otto Kerner | Otto IV, Holy Roman Emperor | Otto IV | Otto III, Holy Roman Emperor | Otto Braun | Miranda Otto | Frei Otto | Otto-Werner Mueller | Otto Schmidt | Otto Muehl | Otto Lilienthal | Otto Klemperer |
The museum's visual art collection includes works by the Berlin Secession (Max Liebermann and Lovis Corinth), New Objectivity and Expressionism (Otto Dix, George Grosz and Hannah Höch), as well as Georg Baselitz, Wolf Vostell, and the Junge Wilde.
In the 1920s some of his work was exhibited at the Akademie der Künste along with that of his contemporaries Otto Dix and George Grosz.
In 1992, he returned again to an art-historical theme in My German Trip, in which Colescott imagines encounters with the great German printmakers Albrecht Dürer, Käthe Kollwitz, Otto Dix, George Grosz, and members of the German Expressionists, with highly comic results.