George Grosz

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Related to George Grosz: Otto Dix, Neue Sachlichkeit

Grosz, George

(grōs), 1893–1959, German-American caricaturist, draughtsman, and painter, b. Berlin. Before and during World War I he contributed drawings on proletarian themes to Illustration and other German periodicals. He was associated with the Dada group at that time. In postwar Germany, Grosz was famous for his vitriolic, satirical drawings attacking the corruption of German bourgeois society. On three occasions he was brought to trial by the state for allegedly defaming public morals and for blasphemy. In his caricatures he evoked a nightmare world, an inferno, made credible with a few jagged pen-and-ink lines. In 1924, Grosz began to paint, and in 1933 he accepted a position as art instructor at the Art Students League, New York City. He became a U.S. citizen in 1938. At first the fiery work of his German period was supplanted by a more traditional rendering of figures and landscapes. However, World War II impelled him to create a symbolic series of ravaged figures. His drawing Street Scene (Philadelphia Mus. of Art) is characteristic. Other works are at the Museum of Modern Art. Two collections of his drawings were published in 1944.


See his autobiography, A Little Yes and a Big No (tr. 1946) and Ecce Homo (new ed. 1966); biographies by H. Hess (1985) and M. K. Flavell (1988).

Grosz, George


(pseudonym of Georg Ehrenfried). Born July 26, 1893. in Berlin; died July 6. 1959, in West Berlin. German painter and graphic artist.

Grosz studied at the Academy of Arts in Dresden (1909–11) and at the school of industrial arts in Berlin (1911–13). From 1918 he was a member of the Communist Party of Germany, and he was the organizer of the so-called Red Group of artists (1924). In 1928, Grosz became a member of the Association of Revolutionary Artists of Germany in Berlin. For a time he was associated with Dadaism and expressionism, and he painted sharply psychological portraits in the spirit of the “new objectivity.” His graphic cycles of works (lithographs, drawings, and watercolors) became widely known. Among them are The Face of the Ruling Class (1921). Ecce Homo (1922), Retribution Will Follow! (1922–23). and The New Face of the Ruling Class (1930). Their savagely grotesque style was influenced by simple graffiti. In these works Grosz maliciously and caustically exposed the egoism, cruelty, and corruption of the bourgeoisie and the inhumanity of militarism, and he revealed the horrors of the poverty and disfranchisement of the people and the growing awareness of the working class. From 1932 to 1959, Grosz lived in the USA, where he did not participate in politics but created a number of pointedly critical social paintings (Peace, 1946, Whitney Museum of American Art, New York).


A Little Yes and a Big No. New York, 1946.


[S”edin. V.] Georg Gross. Moscow-Leningrad. 1931.
Lang, L. (ed.). George Grosz. Berlin. 1966.

Grosz, George

(1893–1959) graphic artist, painter; born in Berlin, Germany. He studied art in Dresden and Berlin and served in the German army in World War I. After years of producing drawings that bitterly satirized middle-class complacency, militarism, and Nazism, he emigrated to New York City in 1932, eventually establishing his studio on Long Island. Early associated with Dadaism, the movement that embraced the absurdity of life, he became known as the printmaker and painter who was a sophisticated realist; his later oils were more symbolic in nature. In 1959 he returned to Berlin where he died.
References in periodicals archive ?
But George Grosz loves his fate/ Like a trusty enemy.
Other works of note include a group of four drawings and watercolors by George Grosz, Kurt Schwitters' rare construction Merzbild 49A Galerie Van Garvens, 1922, and Lyonel Feininger's highly characteristic watercolor Dorf, executed in 1912.
And there has always, in fact, been a connection between the two--think of George Grosz, Andy Warhol, Laurie Anderson, and, best of all, Marcel Duchamp.
Leading representatives of these movements--such as Max Beckmann, George Grosz and Kurt Schwitters--left Germany in the 1930s; others like Otto Dix and Oskar Schlemmer withdrew further into what became known as 'Inner Emigration'.
Back in Berlin, I abandoned my maps and threaded my way through its backstreets, occasionally glimpsing remnants of the period I was trying to recreate; wood panelled halls with old fashioned lifts; tiny cafes where customers sat outside, sheltering their afternoon cake under umbrellas, and old photographs found in a tiny flea market off Fasanenstrasse, flanked by two handpainted street hoardings evoking the cartoons of George Grosz.
The prints remind me a bit of German expressionist George Grosz.
He did not miss the chance to meet George Grosz and Wieland Herzfelde, who would be the founders of Berlin Dada.
George Grosz, Bearden's mentor from 1936-37, was most influential by exposing Bearden to satirical illustrators such as Daumier.
It was the great throbbing modern metropolis, the Grossstadt of George Grosz and Otto Dix.
German Expressionism: Art and Society'' features works by Max Beckmann, Otto Dix, George Grosz, Ernst Ludwig Kirchner, Oskar Kokoschka and 19 other artists who flourished in the first quarter of the 20th century.
Brecht, in The Threepenny Opera, Pabst's "Pandora's Box," even the German "street films," all made attempts to dramatize the obvious decadence that George Grosz caricatures in his irreverent lithographs.
Invented for the occasion, this category associated apocalyptic landscapes by Otto Dix, George Grosz, and Franz Radziwill with Klee's Looking over the Plain, 1932, a work that is in fact a perfect stranger to this theme.