Worker (Self-Portrait in Front of Trees and Chimneys)

From the Harvard Art Museums record

In an age of new technologies such as film and photography, Hoerle and his close contemporaries, known as the Cologne Progressives, remained committed to the medium of painting as a means to unite artistic form with radical left-wing politics. Their work challenged the notion of the subjective, expressionist brushstroke by embedding it in a strict compositional structure. Hoerle meticulously painted Worker on a horizontal plane, laying the surface flat on a table. Questioning the privileged status of the individual artwork, he conceived the painting as part of a larger numbered series. His aim was to combine multiple painterly concepts into murals — larger, public formats he found more suitable for collective experience. Understanding the role of the artist as vital in the establishment of a new society, in this self-portrait he divides his surroundings and himself into two distinct realms: industry and agriculture. The artist, spanning both, embodies the utopian vision of a classless society, thought achievable only by the combined efforts of industrial workers and farmers.