Dreary Saleswomen

Many taboos revolve around the topic of sex. Those caught up in them will either brush off the offense, or exhaust the excuse, “I don’t have a choice.” Taking the phrase “sex sells” to a literal level, Kirchner & The Berlin Street symbolizes the “city” in an interesting way–using the figure of the female prostitute. But despite the abundance of prostitutes that existed (as implied by his paintings), we don’t get the feeling that these women find thrill in what they do. Though some of Ernst Ludwig Kirchner’s paintings displayed energy and excitement, the ones that allure people the most actually evoke a sense of tension, and loneliness, making you believe that the women sell themselves, not out of choice, but lack thereof.

Social commentator, Hans Ostwald, said, “The chain of women that strut around the square–or make a ‘detour’ into neighboring streets–in front of the flashing bar signs, is endless.”  We immediately envision the stereotypical prostitute that we see in movies—standing on a flashy street corner, dressed in “poom-poom shorts” and waist-length faux fur coat, while animatedly seducing their next costumer.  The prostitutes in Kirchner’s solemn portrayal were the exact opposite.  In his piece Potsdamer Platz (1914), the two women are fully clothed, and wear stoic expressions.  There is nothing cheery about their line of work and you can definitely sense that from their emotionless faces.  The women are positioned on a round stand in the middle of the street as if on display.  Their stances seem very stiff, which depicts the tension between the women’s reluctance, and the surrounding spectators ready to purchase.  They wear long dresses that cover their arms and legs, and one woman is even wearing a veil.  This could be because she’s ashamed of her actions and wants to deter any recognition, or wants to conjure some pity by wearing a widow’s veil (which can convey loneliness), and communicating that this “job” is her last resort.

Another painting in which you immediately sense the tension is Women on the Street (1915).  There are two women walking close together, almost as if protecting one another, on a very busy street.  Again we see the use of emotionless faces that tells us this is the last place they rather be.  They look tired, and their eyes give off the thought that they’re empty inside.  There’s also a man to the women’s left facing downward as if “checking out the product.”  His proximity makes you a little anxious and really flares that thick tension because he looks like a wink away from making a deal, and though their faces say “no” their presence states that there is no choice.

Being in an undesirable situation can really drain a person and both of the examples mentioned illustrate that.  The awkwardness of being in a position where after sharing nothing but destinations and prices, and then giving yourself to another’s will only increases the loneliness felt.  The women’s visage looks worse for wear and spell out the apprehension that they must go through every time they set foot on the streets of Berlin.  Through his depiction of prostitution, Kirchner has successfully showed that the city life can eat you alive.