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Also in 2003, well-known artist and art professor Jorg Immendorff was caught in the luxury suite of a Dusseldorf hotel with seven prostitutes (and four more on their way) and some cocaine. He admitted to having staged several such orgies and received 11 months on probation and a fine for the drug charges. He attempted to explain his actions by his “orientalism” and his terminal illness.
The coalition of Social Democrats and the Green Party that governed the country from 1998 until late 2005 attempted to improve the legal situation of prostitutes in the years 2000–2003. These efforts have been criticized as inadequate by prostitutes’ organizations such as HYDRA , which lobby for full normality of the occupation and the elimination of all mention of prostitution from the legal code. The conservative parties in the Bundestag, while supporting the goal of improving prostitutes’ access to the social security and health care system, have opposed the new law because they want to retain the “offending good morals” status.
The churches run several support groups for prostitutes. These generally favor attempts to remove stigmatization and improve the legal situation of prostitutes, but they retain the long term abolitionist goal of a world without prostitution and encourage all prostitutes to quit.
Alice Schwarzer and her branch of feminism rejects all prostitution as inherently oppressive and abusive; they favor a law like that in Sweden, where in 1999 after heavy feminist lobbying a coalition of Social Democrats, Greens and leftists outlawed the buying but not the selling of sexual services.
In 2005, the ruling grand coalition of CDU and SPD announced plans to punish customers of forced prostitutes, if the customer could reasonably have been aware of the situation. [ 59 ] In April 2009 it was reported that the plans would provide for a penalty of up to 5 years in prison. [ 60 ] The law had not been enacted when the center-right CDU-FDP coalition came to power in November 2009.
Great Works of Western Art.
This article is taken from.
100 Best Paintings in New York.
Text by Geoffrey Smith.
Buy 100 Best Paintings in New York.
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Ernst Ludwig Kirchner, Street, Dresden 1908.
New York, Museum of Modern Art.
While visiting Munich in 1903 Kirchner saw an exhibition of Post-Impressionist paintings which had been mounted by a group (The Phalanx) led by Vasily Kandinsky. The work of Paul Signac, Vincent van Gogh, Henri de Toulouse-Lautrec and others, which he saw at this Munich exhibition, had a profound effect on Kirchner, an influence which was equalled by the advent of the Fauves a couple of years later, whose use of colour is an obvious inspiration for this painting.
In the same year that Matisse and Derain were at work in Collioure on the Mediterranean coast of France, producing the first colour-saturated Fauvist pictures, many miles to the north, in Dresden, not far from a much colder sea, Kirchner and three friends (Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff – all four were architecture students) were forming an influential group which they called Die Brücke – the Bridge. The name was symbolic of a bridge to a new art, direct and youthful, an art which was presented to the Dresden public for the first time in 1906 at an exhibition mounted in the showroom of a lamp factory.
The members of Die Brücke may have used Fauve-like colour in their work but the results are markedly different. Whereas the Fauves use of colour creates a feeling of warmth and well being (one thinks of Matisse and Derain working in their Mediterranean arcadia at Collioure), here the clashing colours induce a sense of angst. Apart from a startling expanse of pink representing the Dresden street, the canvas is packed with a predominantly female crowd. A number of these women are sporting huge belle-époque hats which seem to add to the latent claustrophobia. The tram track rears upwards at an acute angle creating an uncertain perspectival space and increasing the general sense of unease. The tram, seen in a central position at the top of the picture, blocks our line of sight (in a similar way to all those hats) and looks as if it might topple towards the child in the centre of the composition. Three women stare disconsolately out of the picture – they seem apprehensive, uneasy, infected by the anxiety inherent in city life.
The work of the Brücke group came to exemplify all that is understood when we speak of Expressionism – an art which is searching for emotional impact through deliberate exaggeration of outline and colour, and where traditional ideas of beauty are sacrificed in order to emphasise the expression of emotion. Kirchner’s experiences in the army during First World War resulted in a nervous breakdown; his recovery necessitated a lengthy spell in sanatoriums in Switzerland where he subsequently settled. The Alpine scenery, a far cry from the crowded streets of Dresden, inspired a shift to a more serene style in which Kirchner painted landscapes. But in the late thirties the angst returned and he committed suicide.

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