Grosz shared Dix's unflinching satirical approach to Weimar era social figures, depicting prostitutes, profiteers, and morally corrupt characters with the same raw expressionist line work and biting social criticism seen in Kupplerin.

As a fellow Neue Sachlichkeit artist, Schad painted the marginal and transgressive figures of Weimar society including madams and sex workers with a similarly unflinching yet precise figurative style rooted in social observation.

Beckmann pursued the same expressionist figurative tradition and moral scrutiny of German urban society, depicting grotesque and psychologically complex social archetypes with the same dark Weimar era sensibility present in this work.