Grosz shared Dix's sharp satirical eye for Weimar era social scenes, depicting figures in leisure and urban settings with the same biting German Expressionist critique of bourgeois society and human behavior.

Beckmann similarly painted crowded figure compositions set in social gathering spaces like bars and cafes, using bold outlines and psychological intensity that closely mirrors Dix's approach to genre scenes and social observation.

Schad worked within the Neue Sachlichkeit movement alongside Dix and painted figures in leisure environments with the same unflinching realism and detached social commentary characteristic of this billiard scene.