The visual representation of the human form has a history dating back to cave paintings and beyond. With the development of art during the Renaissance, almost all painting followed the convention: one-point perspective with nudes clearly from an individual perspective detached from the scene of the image. Experimental work from the late 19th century onward changed this perspective as artists began to express introspection on the subject. Cubism and its depiction of an object from all angles led German Expressionism to find the essence of the subject from more than one approach. The French theorist and critic Roger de Piles described the expression in 1708: “la pensée du cœur humain” – the thought of the human heart. He explained what German painters would embody 200 years later. This essay attempts to contextualize bodily nudity in German Expressionism, through the analysis of three works and their influence on historical factors. The human form has been a key theme in art since the beginning of time, but the way the German Expressionists used it as part of a direct self-expression of form and color; as part of an idealized notion of a society returned to its roots; and finally, as a reaction and result of the deeply dehumanizing World War I, it shows the imbalance between spirit and physicality as a reaction to social changes. He will attempt to argue that German art in its most turbulent history has expressed the whole truth about the human essence and how utterly debilitating the effect of war can be on it. The history of Western art is full of naked human bodies. The nude has been used to idealize, romanticize, and philosophize about human existence since the ancient Greeks. Plato's identity... half of the paper... army. The shower also resembles a spiritual halo around the soldiers: they seem protected by a celestial light. These men are completely naked in the most embarrassing sense of the word: the unfettered primitive man has disappeared and been replaced by a fearful, dehumanized group. Kirchner's Artillery Men is a superb example of the idea that men are naked, not naked. The spiritual essence that marks the joy of the painting of the past is replaced with man who becomes the vehicle of human suffering. The nervous and difficult brushstrokes embody the world he lived in and personify his internal state of restlessness. Kirchner had a strong desire for self-knowledge and understanding of human existence, and his experience in the army dramatically changed his views. A parallel can be drawn to existential philosophy with the fear of death clearly pervading the male space.