of Neue Sachlichkeit. Compared to the verists, the classicists more clearly exemplify the "return to order" that arose in the arts throughout Europe. The classicists included Georg Schrimpf, Alexander Kanoldt, Carlo Mense, Heinrich Maria Davringhausen, and Wilhelm Heise. The sources of their inspiration included 19th-century art, the Italian metaphysical painters, the artists of Novecento Italiano, and Henri Rousseau. The classicists are best understood by Franz Roh's term Magic Realism, though Roh originally intended "magical realism" to be synonymous with the Neue Sachlichkeit as a whole. For Roh, as a reaction to expressionism, the idea was to declare "[that] the autonomy of the objective world around us was once more to be enjoyed; the wonder of matter that could crystallize into objects was to be seen anew." With the term, he was emphasizing the "magic" of the normal world as it presents itself to us—how, when we really look at everyday objects, they can appear strange and fantastic. Regional groups Most of the artists of the New Objectivity did not travel widely, and stylistic tendencies were related to geography. While the classicists were based mostly in Munich, the verists worked mainly in Berlin (Grosz, Dix, Schlichter, and Schad); Dresden (Dix, Hans Grundig, Wilhelm Lachnit and others); and Karlsruhe (Karl Hubbuch, Georg Scholz, and Wilhelm Schnarrenberger). The works of the Karlsruhe artists emphasize a hard, precise style of drawing, as in Hubbuch's watercolor The Cologne Swimmer (1923). In Cologne, a constructivist group led by Franz Wilhelm Seiwert and Heinrich Hoerle also included Gerd Arntz. Also from Cologne was Anton Räderscheidt, who after a brief constructivist phase became influenced by Antonio Donghi and the metaphysical artists. Artists active in Hanover, such as Grethe Jürgens, Hans Mertens, Ernst Thoms, and Erich Wegner, depicted provincial subject matter with an often lyrical style. Franz Radziwill, who painted ominous landscapes, lived in relative isolation in Dangast, a small coastal town. Carl Grossberg became a painter after studying architecture in Aachen and Darmstadt and is noted for his clinical rendering of industrial technology. Photography Albert Renger-Patzsch and August Sander are leading representatives of the "New Photography" movement, which brought a sharply focused, documentary quality to the photographic art where previously the self-consciously poetic had held sway. Some other related projects as Neues Sehen, coexisted at the same moment. Karl Blossfeldt's botanical photography is also often described as being a variation on New Objectivity. Architecture New Objectivity in architecture,