No one saw the depraved underbelly of post-war Weimar-era Germany as surely as Otto Dix.
His famous triptych Metropolis set dismembered veterans alongside bourgeois revellers and femme fatales.
A year later, in 1928, came the dehumanised, androgynous Portrait Of The Journalist Sylvia von Harden, a masterpiece currently held in Paris.
But it is a series of 50 prints titled Der Krieg (The War), made ten years after the beginning of the First World War, whose unerring focus is pertinent as the world commemorates the centenary of the start of machine-led, industrial-scale killing.
