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-	{{Template}}'''George Grosz''' ([[July 26]], [[1893]] – [[July 6]], [[1959]]) was a [[German art]]ist, prominent member of the [[Berlin]] [[Dada]] and [[New Objectivity]] group, known especially for his [[savage]]ly [[caricatural]] drawings of [[1920s Berlin|Berlin life in the 1920s]] [[Weimar culture]]. He also worked with [[photomontage]] and is recognized as a major artist of the [[grotesque]]. His works were ridiculed at the [[degenerate art]] exhibition in [[Munich]] in [[1937]]. His essays were banned by the Nazis. See his [[1946]] [[autobiography]] ''[[A Little Yes and a Big No]]'' which was published in the United States by [[The Dial Press]].	+	{{Template}}'''George Grosz''' ([[July 26]], [[1893]] – [[July 6]], [[1959]]) was a [[German art]]ist, prominent member of the [[Berlin]] [[Dada]] and [[New Objectivity]] group, known especially for his [[savage]]ly [[caricatural]] drawings of [[1920s Berlin|Berlin life in the 1920s]] [[Weimar culture]]. He also worked with [[photomontage]] and is recognized as a major artist of the [[grotesque]]. His works were ridiculed at the [[degenerate art]] exhibition in [[Munich]] in [[1937]]. His essays were banned by the Nazis.
	== Milestone works ==		== Milestone works ==
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	:"My aim is to be understood by everyone. I reject the 'depth' that people demand nowadays, into which you can never descend without a diving bell crammed with cabbalistic bullshit and intellectual metaphysics. This expressionistic anarchy has got to stop... a day will come when the artist will no longer be this bohemian, puffed-up anarchist but a healthy man working in clarity within a collectivist society."		:"My aim is to be understood by everyone. I reject the 'depth' that people demand nowadays, into which you can never descend without a diving bell crammed with cabbalistic bullshit and intellectual metaphysics. This expressionistic anarchy has got to stop... a day will come when the artist will no longer be this bohemian, puffed-up anarchist but a healthy man working in clarity within a collectivist society."
		+	== Autobiography ==
		+	See his [[1946]] [[autobiography]] ''[[A Little Yes and a Big No]]'' which was published in the United States by [[The Dial Press]].
	{{GFDL}}		{{GFDL}}

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Revision as of 10:09, 26 July 2007

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George Grosz (July 26, 1893 – July 6, 1959) was a German artist, prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural drawings of Berlin life in the 1920s Weimar culture. He also worked with photomontage and is recognized as a major artist of the grotesque. His works were ridiculed at the degenerate art exhibition in Munich in 1937. His essays were banned by the Nazis.

Contents 1 Milestone works 2 Analysis 3 Quotes 4 Autobiography

Milestone works

1917: Explosion
1919: To Oscar Panizza, Blood is the Best Sauce
1921: Gray Day
1922: Dusk
1923: Hitler, The Savior
1926: Eclipse of the Sun, Pillars of Society
1927: Warning [warning against rising Nazi menace and moral decay in Germany]
1929: The Agitator (Hitler)

Analysis

Trewin Copplestone noted that he was a "deeply disillusioned man, he saw humanity as essentially bestial and the city of Berlin as a sink of depravity and deprivation, its streets crowded with unprincipled profiteers, prostitutes, war-crippled dregs and a variety of perverts. A communist, his feeling of social outrage stimulated him to produce the most biting drawings and paintings." and Robert Hughes remarked that "in Grosz's Germany, everything and everybody is for sale. All human transactions, except for the class solidarity of the workers, are poisoned. The world is owned by four breeds of pig: the capitalist, the officer, the priest and the hooker, whose other form is the sociable wife. He was one of the hanging judges of art."

Quotes

"My art was to be a gun & a sword; my drawing pens I declared to be empty straws as long as they did not take part in the fight for freedom."

"My aim is to be understood by everyone. I reject the 'depth' that people demand nowadays, into which you can never descend without a diving bell crammed with cabbalistic bullshit and intellectual metaphysics. This expressionistic anarchy has got to stop... a day will come when the artist will no longer be this bohemian, puffed-up anarchist but a healthy man working in clarity within a collectivist society."

Autobiography

See his 1946 autobiography A Little Yes and a Big No which was published in the United States by The Dial Press.