technique but often distinguished by unusual perspective effects and bold colorfulness. In 1925, Rafaello Giolli summarized the disconcerting aspects of Casorati's art — “The volumes have no weight in them, and the colors no body. Everything is fictitious: even the living lack all nervous vitality. The sun seems to be the moon ... nothing is fixed or definite.” Other German artists who worked within this style are Alexander Kanoldt and Carl Grossberg. Kanoldt painted still lifes and portraits, while Grossberg painted urban landscapes and industrial sites rendered with chilly precision. New Objectivity and Verism The artists most associated with the Neue Sachlichkeit today are those Hartlaub identified as 'verists'. These artists tended to oppose expressionism, but did not so much exemplify the “return to order” as much as they opposed what they saw as the political impotence of expressionist art. They sought to involve themselves into revolutionary politics and their form of realism distorted appearances to emphasize the ugly, as they wanted to expose what they considered the ugliness of reality. The art was raw, provocative, and harshly satirical. Bertolt Brecht, a German dramatist, was an early critic of Expressionism, referring to it as constrained and superficial. Just like in politics Germany had a new parliament but lacked parliamentarians, he argued, in literature there was an expression of delight in ideas, but no new ideas, and in theater a 'will to drama', but no real drama. His early plays, Baal and Trommeln in der Nacht (Drums in the Night) express repudiations of fashionable interest in Expressionism. Opposed to the focus on individual emotional experience in expressionist art, Brecht began a collaborative method to play production, starting with his Man Equals Man project. Overall, the verist critique of expressionism was influenced by Dadaism. The early exponents of Dada had been drawn together in Switzerland, a neutral country in the war, and in common cause, they wanted to use their art as a form of moral and cultural protest — shaking off not only the constraints of nationality, but also of artistic language, in order to express political outrage and encourage political action. Expressionism, to Dadaists, expressed all of the angst and anxieties of society, but was helpless to do anything about it. Out of this, Dada cultivated a “satirical hyperrealism”, as termed by Raoul Hausmann, and of which the best known examples are the graphical works and photo-montages of John Heartfield.