Because of travel restrictions, German artists in 1919–22 had little knowledge of contemporary trends in French art; Henri Rousseau, who died in 1910, was the French painter whose influence was most apparent in the works of the New Objectivity. However, some of the Germans found important inspiration in the pages of the Italian magazine "Valori plastici", which featured photographs of recent paintings by Italian classical realists. Hartlaub first used the term in 1923 in a letter he sent to colleagues describing an exhibition he was planning. In his subsequent article, "Introduction to 'New Objectivity': German Painting since Expressionism", Hartlaub explained,  The New Objectivity was composed of two tendencies which Hartlaub characterized in terms of a left and right wing: on the left were the "verists", who "tear the objective form of the world of contemporary facts and represent current experience in its tempo and fevered temperature"; and on the right the "classicists", who "search more for the object of timeless ability to embody the external laws of existence in the artistic sphere". The verists' vehement form of realism emphasized the ugly and sordid. Their art was raw, provocative, and harshly satirical. George Grosz and Otto Dix are considered the most important of the verists. The verists developed Dada's abandonment of any pictoral rules or artistic language into 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. Use of collage in these works became a "compositional" principle to blend reality and art, as if to suggest that to record the facts of reality was to go beyond the most simple appearances of things. This later developed into portraits and scenes by artists such as Grosz, Dix, and Rudolf Schlichter. Portraits would give emphasis to particular features or objects that were seen as distinctive aspects of the person depicted. Satirical scenes often depicted a madness behind what was happening, depicting the participants as cartoon-like. Other verists, like Christian Schad, depicted reality with a clinical precision, which suggested both an empirical detachment and intimate knowledge of the subject. Schad's paintings are characterized by "an artistic perception so sharp that it seems to cut beneath the skin", according to the art critic Wieland Schmied. Often, psychological elements were introduced in his work, which suggested an underlying unconscious reality.