Out of this, Dada cultivated 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 George Grosz, Otto 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 "verist" artists, 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 "an artistic perception so sharp that it seems to cut beneath the skin", according to Schmied. Often, psychological elements were introduced in his work, which suggested an underlying unconscious reality to life. In Belgium, expressionism had been influenced by artists like James Ensor and Louis Pevernagie who had combined expressionism with symbolism. Ensor, known for his paintings of people in masks, carnival outfits, and side-by-side with skeletons, also often painted realistic scenes, but imbued them with a fevered brush, garish colors, and strong contrasts to suggest a strange unreality present in them, as did Pevernagie. Expressionism was also exhibited in the Latemse School, where adherents like Constant Permeke and Hubert Malfait used brushwork in painting and loose form in sculpture to show a mystic reality behind nature. In what had been called a “retour à l’humain” (return to the human), many artists working in Belgium after the war had kept the expressive brush of their forebearers, but had rejected what they had seen as the anti-human, unreal distortions in their subject matter. The goal was to use the expressive brush to depict the soul or spirit of the objects, people, and places they were painting, rather than a hyperbolic, externalized, displaced angst of the artist. These artists were often characterized as 'introverts', as opposed to the 'extroverts' of expressionism. Belgian art critic Paul Haesaerts later gave this movement the title "animism", which he took from anthropologist E.B. Tylor's book "Primitive Culture" (1871) describing 'animism' as primitive religion that based itself on the idea a soul inhabited all objects.