Famous Male Artist in the 70s Modern Art Peace

German artist known for his caricatural drawings and paintings of Berlin life in the 1920s

George Grosz
George Grosz in 1921
Born	Georg Ehrenfried Groß (1893-07-26)July 26, 1893 Berlin, Kingdom of Prussia, German Empire
Died	July 6, 1959(1959-07-06) (aged 65) West Berlin, Due west Germany
Nationality	High german, American (since 1938)
Education	Dresden Academy
Known for	Painting, drawing
Notable work	The Funeral (Defended to Oscar Panizza)
Movement	Dada, Expressionism, New Objectivity

George Grosz (German: [ɡʁoːs]; born Georg Ehrenfried Groß; July 26, 1893 – July six, 1959) was a High german creative person known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity groups during the Weimar Republic. He immigrated to the Us in 1933, and became a naturalized citizen in 1938. Abandoning the style and field of study matter of his earlier work, he exhibited regularly and taught for many years at the Art Students League of New York. In 1959 he returned to Berlin, where he died soon afterwards.

Early life [edit]

Fabricated in Germany (German: Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolio God with usa (German: Gott mit Uns). Canvass 48.3 10 39.1 cm. In the collection of the MoMA

Grosz was born Georg Ehrenfried Groß in Berlin, Federal republic of germany, the tertiary child of a pub owner. His parents were devoutly Lutheran.^[ane] Grosz grew upwardly in the Pomeranian town of Stolp (now Słupsk, Poland).^[2] Later on his father'south death in 1900, he moved to the Wedding ceremony commune of Berlin with his female parent and sisters.^[3] At the urging of his cousin, the young Grosz began attention a weekly drawing course taught by a local painter named Grot.^[4] Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard von Grützner, and by drawing imaginary boxing scenes.^[v] He was expelled from school in 1908 for insubordination.^[6] From 1909 to 1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Osmar Schindler.^[3] His first published drawing was in the satirical magazine Ulk in 1910.^[half-dozen] From 1912 until 1917 he studied at the Berlin College of Arts and Crafts under Emil Orlik.^[three] He began painting in oils in 1912.^[3]

George Grosz, Daum marries her pedantic automaton George in May 1920, John Heartfield is very glad of it, Berlinische Galerie

In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avert being sent to the forepart.^[7] He was given a discharge after hospitalization for sinusitis in 1915.^[7] In 1916 he changed the spelling of his name to "de-Germanise" and internationalise his name – thus Georg became "George" (an English language spelling), while in his surname he replaced the High german "ß" with its phonetic equivalent "sz".^[8] He did this as a protest against German language nationalism^[iii] and out of a romantic enthusiasm for America^{[half dozen]} – a legacy of his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May – that he retained for the rest of his life.^[9] His artist friend and collaborator Helmut Herzfeld as well changed his name to John Heartfield at the same fourth dimension.

In January 1917 Grosz was drafted for service, but in May he was discharged as permanently unfit.^[10]

Political appointment following the November Revolution [edit]

Following the November Revolution in the last months of 1918, Grosz joined the Spartacist League,^[11] which was renamed the Communist Party of Germany (KPD) in Dec 1918. He was arrested during the Spartakus uprising in January 1919, but escaped using simulated identification documents. In 1920 he married Eva Peters.^[3] In the same yr he published a drove of his drawings, titled Gott mit uns ("God with usa"), a satire on German society. Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the confiscation of the plates used to print the album.^[12]

Trip to Russia [edit]

In 1922 Grosz traveled to Russia with the writer Martin Andersen Nexø. Upon their arrival in Murmansk they were briefly arrested equally spies; later their credentials were approved, they were allowed to continue their journey. He met with several Bolshevik leaders such as Grigory Zinoviev, Karl Radek, and Vladimir Lenin.^[xiii] He went with Arthur Holitscher to meet Anatoly Lunacharsky with whom he discussed Proletkult. He rejected the concept of "proletarian civilization", arguing that the term proletarian meant uneducated and uncultured. He regarded artistic talent every bit a "gift of the muses", with which a person may be lucky enough to be built-in with.^[14] Grosz's vi-calendar month stay in the Soviet Union left him unimpressed by what he had seen.^[xv] He ended his membership in the KPD in 1923, although his political positions were trivial changed.^[16]

Subsequently activities in Federal republic of germany [edit]

According to Grosz's son Martin Grosz, during the 1920s Nazi officers visited Grosz's studio looking for him, but considering he was wearing a working man's apron Grosz was able to pass himself off as a handyman and avoid beingness taken into custody.^[17] His work was also role of the painting event in the art contest at the 1928 Summer Olympics.^[18]

In 1928 he was prosecuted for irreverence after publishing anticlerical drawings, such every bit one depicting prisoners under set on from a minister who vomits grenades and weapons onto them, and another showing Christ coerced into military service. According to historian David Nash, Grosz "publicly stated that he was neither Christian nor pacifist, but was actively motivated past an inner demand to create these pictures", and was finally acquitted afterwards two appeals.^[19] By dissimilarity, in 1942 Time magazine identified Grosz equally a pacifist.^[20]

Emigration to America [edit]

Bitterly anti-Nazi, Grosz left Frg shortly earlier Hitler came to power. In June 1932, he accustomed an invitation to teach the summertime semester at the Fine art Students League of New York.^[21] In Oct 1932, Grosz returned to Germany, just on Jan 12, 1933, he and his family emigrated to the United states of america.^[22] Grosz became a naturalized citizen of the U.Due south. in 1938, and made his home in Bayside, New York. In the 1930s he taught at the Art Students League, where one of his students was Romare Bearden, who was influenced by his style of collage. He taught at the Art Students League intermittently until 1955.

In America, Grosz adamant to make a clean interruption with his past, and changed his style and subject thing.^[23] He connected to exhibit regularly, and in 1946 he published his autobiography, A Little Aye and a Large No. In the 1950s he opened a private fine art school at his domicile and also worked equally Artist in Residence at the Des Moines Art Center. Grosz was elected into the National Academy of Design as an Associate Academician in 1950. In 1954 he was elected to the American Academy of Arts and Letters. Though he had U.Southward. citizenship, he resolved to render to Berlin, and relocated in that location in May 1959.^[24] He died at that place on July six, 1959, from the effects of falling down a flying of stairs after a nighttime of drinking.^[25]

Works [edit]

Although Grosz made his outset oil paintings in 1912 while even so a educatee,^[3] his primeval oils that tin be identified today date from 1916.^[26] By 1914, Grosz worked in a style influenced past Expressionism and Futurism, also as past popular analogy, graffiti, and children's drawings.^[7] Sharply outlined forms are oft treated as if transparent. The Metropolis (1916–17) was the get-go of his many paintings of the mod urban scene.^[27] Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession. He settled in Berlin in 1918 and was a founder of the Berlin Dada move, using his satirical drawings to attack bourgeois supporters of the Weimar Commonwealth.^[28]

His drawings, usually in pen and ink which he sometimes adult farther with watercolor, oftentimes included images of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sexual activity crimes and orgies were his smashing subjects (for instance, see Fit for Active Service). His draftsmanship was excellent although the works for which he is best known adopt a deliberately rough form of caricature in the manner of Jugend.^[28] His oeuvre includes a few absurdist works, such equally Think Uncle August the Unhappy Inventor which has buttons sewn on it,^[29] and also includes a number of erotic artworks.^[thirty]

Later on his emigration to the The states in 1933, Grosz "sharply rejected [his] previous work, and caricature in general."^[31] In place of his earlier corrosive vision of the metropolis, he at present painted conventional nudes and many landscape watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: "A great bargain that had get frozen within me in Germany melted here in America and I rediscovered my sometime yearning for painting. I carefully and deliberately destroyed a part of my past."^[32] Although a softening of his style had been apparent since the late 1920s, Grosz's piece of work assumed a more sentimental tone in America, a change generally seen as a turn down.^[33] His late work never achieved the critical success of his Berlin years.^[34]

From 1947 to 1959, George Grosz lived in Huntington, New York, where he taught painting at the Huntington Township Art League.^[35] It is said by locals that he used what was to get his most famous painting, Eclipse of the Sun, to pay for a car repair bill, in his relative penury. The painting was afterwards acquired by house painter Tom Constantine^[36] to settle a debt of $104.00. The Heckscher Museum of Art in Huntington purchased the painting in 1968 for $fifteen,000.00, raising the money by public subscription. As Eclipse of the Sun portrays the warmongering of arms manufacturers, this painting became a destination of protesters of the Vietnam War in Heckscher Park (where the museum is sited) in the late 1960s and early 70s.

In 2006, the Heckscher proposed selling Eclipse of the Sun at its so-current appraisal of approximately $nineteen,000,000.00 to pay for repairs and renovations to the edifice. There was such public outcry that the museum decided not to sell, and appear plans to create a dedicated space for display of the painting in the renovated museum.^[37]

Legacy and manor [edit]

Grosz's fine art influenced other New Objectivity artists such as Heinrich Maria Davringhausen, Anton Räderscheidt, and Georg Scholz.^[38] In the Us, the artists influenced by his work included the social realists Ben Shahn and William Gropper.^[39]

In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum. He is fictionalized equally "Fritz Falke" in Arthur R.Chiliad. Solmssen's novel A Princess in Berlin (1980). In 2002, player Kevin McKidd portrayed Grosz in a supporting role as an eager creative person seeking exposure in Max, regarding Adolf Hitler's youth.

The Grosz estate filed a lawsuit in 1995 against the Manhattan art dealer Serge Sabarsky, arguing that Sabarsky had deprived the estate of advisable compensation for the auction of hundreds of Grosz works he had acquired. In the suit, filed in State Supreme Court in Manhattan, the Grosz estate claims that Sabarsky secretly acquired 440 Grosz works for himself, primarily drawings and watercolors produced in Germany in the 1910s and 20s.^[34] The lawsuit was settled in summer in 2006.^[twoscore]

In 2003 the Grosz family initiated a legal battle against the Museum of Modern Art in New York City, asking that three paintings exist returned. According to documents, the paintings were sold to the Nazis subsequently Grosz fled the country in 1933. The museum never settled the claim, arguing that a iii-yr statute of limitations in bringing such a claim had expired. It is well documented that the Nazis stole thousands of paintings during Globe War II and many heirs of German painters keep to fight museums in order to reclaim such works.^[41]

George Grosz's younger son is jazz guitarist Marty Grosz.

Quotes [edit]

• "My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. ... I drew a man, face up filled with fear, washing blood from his hands ... I drew lonely little men fleeing madly through empty streets. I drew a cross-department of tenement business firm: through one window could be seen a human attacking his wife; through some other, two people making beloved; from a third hung a suicide with torso covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel artillery; ii medical soldiers putting a tearing infantryman into a strait-jacket made of a horse blanket ... I drew a skeleton dressed as a recruit existence examined for military duty. I likewise wrote poetry." — George Grosz ^[42]

Run across also [edit]

• Jedermann sein eigner Fussball, an artists' book past George Grosz and John Heartfield
• Assoziation revolutionärer bildender Künstler, an association of German artists
• List of German painters

Bibliography [edit]

• Bergius, Hanne Das Lachen Dadas. Dice Berliner Dadaisten und ihre Aktionen. Gießen: Anabas-Verlag, 1989. ISBN 978-three-8703-8141-vii
• Bergius, H. Montage und Metamechanik. Dada Berlin – Ästhetik von Polaritäten (mit Rekonstruktion der Ersten Internationalen Dada-Messe und Dada-Chronologie) Berlin: Gebr. Mann Verlag 2000. ISBN 978-3-786115-25-0
• Bergius, H. Dada Triumphs! Dada Berlin, 1917–1923. Artistry of Polarities. Montages – Metamechanics – Manifestations. Translated by Brigitte Pichon. Vol. V. of the ten editions of Crisis and the Arts. The History of Dada, ed. by Stephen Foster, New Haven, Conn. u. a., Thomson/ Gale 2003. ISBN 978-0-816173-55-vi
• Grosz, George (1946). A Little Yes and a Big No. New York: The Dial Press.
• Kranzfelder, Ivo (2005). George Grosz. Cologne: Taschen. ISBN 3-8228-0891-ane
• Michalski, Sergiusz (1994). New Objectivity. Cologne: Taschen. ISBN 3-8228-9650-0
• Sabarsky, Serge, editor (1985). George Grosz: The Berlin Years. New York: Rizzoli. ISBN 0-8478-0668-5
• Schmied, Wieland (1978). Neue Sachlichkeit and German Realism of the Twenties. London: Arts Council of Great britain. ISBN 0-7287-0184-7
• Vogel, Ballad (7 October 2006) "Peter K. Grosz, eighty, Authority on Early German Aircraft, Dies" (obituary, Grosz's son), The New York Times
• Walker, B., Zieve, K., & Brooklyn Museum. (1988). Prints of the German language expressionists and their circle: Drove of the Brooklyn Museum. New York: Brooklyn Museum. ISBN 0872731154

References [edit]

Notes

1. ^ Evjue, William Theodore (1960). The Progressive . Retrieved December 24, 2011 – via Google Books.
2. ^ "munzinger.de". munzinger.de. Retrieved December 24, 2011.
3. ^ ^{a b c d e f g} Kranzfelder 2005, p. 92.
4. ^ Grosz 1946, p. 22.
5. ^ Grosz 1946, pp. 24, 26.
6. ^ ^{a b c} Sabarsky 1985, p.250.
7. ^ ^{a b c} Kranzfelder 2005, p. 15.
8. ^ The letter of the alphabet "ß" is called in High german a "scharfes S" or "Eszett", the latter meaning merely "SZ". It was common usage at that time when typing to transcribe the ß as "sz", so his choice of transcription was essentially a neutral phonetic rendering.
9. ^ Schmied 1978, p.29.
10. ^ Sabarsky 1985, p. 26. According to Sabarsky, no records can exist found to substantiate the version of events described by Grosz in his autobiography, i.east., that he was accused of desertion and narrowly avoided execution.
11. ^ Kranzfelder 2005, p. 28.
12. ^ Kranzfelder 2005, pp. 36–37.
13. ^ Kranzfelder 2005, pp. 54–55.
14. ^ Grosz, George (1998). George Grosz: An Autobiography. Berkeley: University of California Press.
15. ^ Sabarsky 1985, pp. 33, 251.
16. ^ Kranzfelder 2005, p. 58.
17. ^ Remerowski, Ted; Canell, Marrin. "Cultural Abracadabra Special Berlin Sin City of the 1920's (Pre WW2)". Youtube. CBC (Canada). Archived from the original on April eighteen, 2019. Retrieved December 29, 2019.
18. ^ "George Grosz". Olympedia . Retrieved July 27, 2020.
19. ^ Nash, David Due south. (2007). Irreverence in the Christian World: A History. Oxford: Oxford University Press. p. 112. ISBN 9780199570751.
20. ^ "Art: GEORGE GROSZ". Time. September 14, 1942. Retrieved November 26, 2019 – via content.time.com.
21. ^ Kranzfelder 2005, p. 93.
22. ^ Kranzfelder 2005, p. 78.
23. ^ Grosz 1946, pp. 301–302.
24. ^ Kranzfelder 2005, p. 90.
25. ^ Kranzfelder 2005, pp. 90–91.
26. ^ Kranzfelder 2005, p. 21.
27. ^ Kranzfelder 2005, p. 22.
28. ^ ^{a b} Lawrence Gowing, ed., Biographical Encyclopedia of Artists, v.2 (Facts on File, 2005): 287
29. ^ "Call up Uncle August the Unhappy Inventor". centrepompidou.fr. Archived from the original on Apr 10, 2008. Retrieved Apr 1, 2008.
30. ^ "George Grosz erotic artwork". AMEA/Earth Museum of Erotic Fine art. Archived from the original on January 20, 2008. Retrieved April 2, 2008.
31. ^ Grosz 1946, p. 276.
32. ^ Grosz 1946, p. 270.
33. ^ Michalsky 1994, pp. 35–36.
34. ^ ^{a b} Joyce Wadler (Baronial 27, 2001), The Heirs of George Grosz Battle His Dealer'southward Ghost; A Protracted Lawsuit Outlives Its Target, But Not Its Anger New York Times.
35. ^ "George Grosz at The Heckscher Museum of Art". October ten, 2019.
36. ^ "Thomas Constantine : The 2nd Acquirer Of George Grosz's "Eclipse Of The Sun"". April 20, 2011.
37. ^ Genocchio, Benjamin (February 19, 2006). "George Grosz, Eclipse of the Sun, Heckscher Museum of Fine art". The New York Times.
38. ^ Michalsky 1994, pp. 33, 100.
39. ^ Walker et al. 1988, p. 21.
40. ^ Robin Pogrebin (November xv, 2006), Met Won't Evidence a Grosz at Center of a Dispute New York Times.
41. ^ Singal, Jesse, "Critics say U.South. museums belongings onto Nazi looted art", USA Today, December 21, 2013. Retrieved March 27, 2018.
42. ^ Friedrich, Otto (1986). Before the Deluge. The states: Fromm International Publishing Corporation. pp. 37. ISBN 0-88064-054-5

External links [edit]

• Media related to George Grosz at Wikimedia Eatables
• A collection of Grosz'south paintings
• Ten Dreams Galleries
• Mario Vargas Llosa on George Grosz in TATE ETC. magazine Bound 2007
• Newspaper clippings about George Grosz in the 20th Century Press Archives of the ZBW

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Source: https://en.wikipedia.org/wiki/George_Grosz

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