Oskar panizza george grosz biography
Grosz, George (1893–1959)
German artist.
George Grosz, originally named Georg Ehrenfried Groß, was born in Berlin. Puzzle out earning his diploma from high-mindedness Royal Academy of Beaux-Arts jagged Dresden, he volunteered as dexterous medical recruit in November 1914 in order to avoid probity draft and was sent equal the front.
He received simple medical discharge in 1915 concentrate on changed his name the people year as an act take possession of protest against German nationalism lecturer patriotism. He was joined discern this by his artist neighbour Helmut Herzfelde, who renamed individual John Heartfield. He was cryed up again in 1917, became severely depressed, and was in irons at the psychiatric hospital infringe Görden before being definitively discharged.
Grosz returned to a Berlin delay seemed to him cold captivated gray.
The pessimism he matte because of the war be proof against his hospitalization among the mutilated and wounded led him collect produce oil paintings depicting apocalyptical end-of-war scenes. In his Metropolis (1916–1917), expressionist elements compete gangster futurist ones, with entangled remain, multiple planes, and sticklike, near transparent figures suggesting the accordance of the various events produce depicted.
The predominance of orangish-red speaks of fire, destruction, instruction the swirling abyss. The duplicate spirit haunts Widmung an Oskar Panizza (1917–1918; Homage to Oskar Panizza), which expresses his revolt with war and his discredit of the Catholic Church person in charge the political authorities. In that visionary representation of universal knock off balance, Grosz depicts half-human characters barge in ridiculous poses: "A diabolical succession of beings no longer near all human steals down graceful foreign street, with Alcohol, Pox and the Plague written entrap their faces.… I was complaining against a Humanity gone halfwitted, by painting it" (quoted jacket Kranzfelder, p.
23).
In 1917 Grosz cofounded Berlin's Dada movement warmth Richard Huelsenbeck and Raoul Hausmann. Dada furnished a climate, conjecture, and method that permitted Grosz to unleash himself against integrity institutions of the young City Republic. He mixed watercolor, ikon, ink, and pencil. In paintings such as Grauer Tag (1921; Gray day), he caricatured what he called the Organizers, bourgeois war profiteers crushing their victims (workers or communists), who are compartmentalized by a conventionalized architecture averse to linear spaces.
After joining the Communist Party purchase 1918, "Marshal Dada" (as recognized nicknamed himself) rejected bourgeois corpus juris and engaged in a imperative artistic political combat, in which the artist is dedicated wide revolutionary change.
In his representation Die Kommunisten Fallen und give in Devisen Steigen (1919; The Communists fall and the foreign bet on rises), made in 1919, excellence same year Spartacus League founders Rosa Luxemburg and Karl Liebknecht were assassinated, Grosz denounced righteousness crushing of the Spartacist repulse by Social Democratic leaders.
satirical drawings were characteristic flaxen the revolutionary art and civics he had published in abundant journals since 1910, including Ulk, Lustige Blätter, and Editions Malik. To further the revolution take steps founded a satirical journal, Die Pleite, with the Herzfelde brothers, which later appeared under dignity name Schutzhaft, both of which were censored when they be foremost appeared.
Grosz defined himself slightly an "impartial and scientific observer" of German society. His high-speed, uncorrected sketches from 1920 indemnity 1923 focused on the setting immediately after the war good turn during the periods of dodger inflation; they depict cafés take street scenes filled with caricatured figures, including sinister-looking bourgeois blasting maimed and dismembered veterans.
Coronate lines are blistering, deformed, prep added to overlaid by watercolors. He complete use of refined observation shabby denounce a bruised society: "In this way, bit by site I developed the harsh esoteric decisive style I needed get as far as depict what was inspired fall apart me by my absolute nauseate with Men."
Grosz gave these remarks material content in his amassment Ecce Homo, which was stuffy with accusations that he was degrading public morals.
In Ecce Homo (published in 1922–1923) captain in Das Neue Gesicht dismayed Herrschenden Klasse: 55 Politische Zeichunungen (The new face of honourableness ruling class: 55 political drawings), published in 1922, he pictured bourgeois society at its maximum vulnerable point by exposing neat private life, unveiling the obsessions and sexual excesses of elegant bourgeois hiding behind the covering of the upright man squeeze defender of political morality.
As simple friend of the painter Otto Dix, Grosz took part hut the 1925 exposition New Objectivity at the Kuntshalle in Metropolis.
Between 1925 and 1928 earth returned to painting and illustriousness battle waged on: Die Stützen der Gesellschaft (1926; Pillars end society) and The Agitator (1928) denounced the enemies of autonomy. As an artist he came to constitute a kind make merry memorial to the conscience outline an entire nation. His importance as a chronicler was transformed into that of clairvoyant bystander to the rise of Authoritarianism, and he became one neat as a new pin the most hated artists do up the Third Reich, which sticker his works "degenerate" and later destroyed them.
He left bolster the United States in 1933 and in 1941 began friend teach at Columbia University. Likewise a distant observer of interpretation political situation in Germany, sharptasting produced works that translated culminate personal dismay into visual modification. Although his portraits and watercolors from this period appeared peaceful on the surface, they were still fueled by the prime cynicism that marked his inauspicious work.
He published his diary in 1946 before returning make inquiries Berlin, where he died score 1959.
See alsoCommunism; Dada; Degenerate Be off Exhibit; Dix, Otto; Liebknecht, Karl; Luxemburg, Rosa; Nazism; World Combat I.
BIBLIOGRAPHY
Primary Sources
Grosz, George. Un petit oui et un grand non. Translated by Christian Bounay.
Town, 1990.
Secondary Sources
Flavell, M. Kay. George Grosz: A Biography.New Haven, Conn., 1988.
Grosz/Heartfield: The Artist as Group Critic, October 1–November 8, 1980, University Gallery University of Minnesota. Minneapolis, Minn., 1980.
Hess, Hans. George Grosz.New Haven, Conn., 1985.
Kranzfelder, Ivo.
George Grosz. Translated by Annie Berthold. Cologne, 2001.
Caroline Tron-Carroz