本研究以表现主义新客观社的群像叙事作为该研究的重点，选择新客观社中 两位艺术家艺术家马克斯·贝克曼和乔治·格罗兹为出发点，旨在研究两位艺术 家在构建群像作品中采取的叙事策略、探讨在策略经营中的共同点与差异性，同 时对其采用的叙事策略进行解剖分析，探讨其策略背后的意义。群像叙事作为一 种艺术形式其通过描绘多个人物与其相互之间的图像关系表达对社会议题、群体 现状、群体行为的关注。表现主义是西方艺术发展的一条主线，追求人情感真理 是表现主义的精神内核，新客观社是表现主义艺术的一次伟大的转折，与表现主 义不同新客观社选择用写实的手段描绘客观现实。一战的战败让德国陷入了战后 的凋零之中，社会结构的破碎与道德信仰的崩塌使得民众生活在水火之中。面对 如此现状，新客观社艺术家们不再满足于表现主义前辈们艺术理念选而择群像叙 事表达对社会现状的无情批判与揭露。由此两位新客观社艺术家马克斯·贝克曼、 乔治·格罗兹以群像叙事为方式创作了大量的作品。场景空间是社会空间的缩影， 贝克曼以微观叙事的视觉展开叙事，在群像空间策略应用中，艺术家选择建构寓 意性的“小场景”反应特定群体的生存状态，通过“扭曲”、“遮挡”、“解构” 等艺术手法传达空间的寓意性。同时艺术家在群体人物经营中将人物群像放置在 压缩场景之内，制造群像中人物之间的冲突感表达了战后德国不同群体的行为状 态以达到批判与揭示的终极目的。与贝克曼不同，格罗兹更倾向采用宏观视觉， 以网状叙事的结构叙述同一时代背景下不同群体的生存状态。格罗兹选择了全景 式城市大场景作为时代背景的隐喻，在城市中表现社会各群体的生存状况。

This study takes the group narratives of the expressionist New Objectivity Society as the focus of this research, and selects two artists in the New Objectivity Society, artists Max Beckmann and George Grosz, as the starting point, with the aim of investigating the narrative strategies adopted by the two artists in constructing their group works, exploring the commonalities and differences in the operation of the strategies, and at the same time, carrying out anatomical analyses of the narrative strategies adopted by the two artists, and exploring the significance behind their strategies. The group portrait narrative as an art form is not only a form of art, but also a form of art. As a form of art, group narrative expresses concern for social issues, group status, and group behaviour through the depiction of multiple characters and their pictorial relationships with each other. Expressionism is a main line in the development of Western art, the pursuit of human emotion truth is the spiritual core of expressionism, the New Objective Society is a great turnaround in the art of expressionism, unlike expressionism, the New Objective Society chose to use realistic means to depict the objective reality. The defeat in World War I plunged Germany into post-war depression, and the shattering of the social structure and the collapse of moral beliefs made the people live in a state of flames. In the face of such a situation, the New Objectivity artists were no longer satisfied with the artistic concepts of their predecessors in Expressionism, but chose to use group narratives to express their relentless criticism and revelation of the social status quo. As a result, two New Objectivity artists, Max Beckmann and George Grosz, created a large number of works in the form of group narratives. Scene space is a microcosm of social space, and Beckmann develops his narrative with the vision of micro-narrative. In the application of group space strategy, the artist chooses to construct allegorical "small scenes" to respond to the survival status of a specific group of people, through "distortion", "blocking", "obscuring", and "obscuring", Through "distortion", "blocking", "deconstruction" and other artistic techniques, the artist conveys the allegorical nature of the space. At the same time, the artist places the group portraits within the compressed scenes, creating a sense of conflict between the characters in the group portraits to express the behavioural status of the different groups in post-war Germany, in order to achieve the ultimate goal of critique and revelation. Unlike Beckmann, Grosz prefers to adopt a macroscopic vision and a mesh narrative structure to narrate the existence of different groups in the same era. Grosz chooses a panoramic city scene as a metaphor for the background of the era, and expresses the living conditions of different groups in the city.