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George Grosz

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George Grosz
George Grosz in 1921
Born
Georg Ehrenfried Groß

(1893-07-26)July 26, 1893
Berlin,Kingdom of Prussia,German Empire
DiedJuly 6, 1959(1959-07-06)(aged 65)
West Berlin,West Germany
NationalityGerman,American(since 1938)
EducationDresden Academy
Known forPainting,drawing
Notable workThe Funeral (Dedicated to Oscar Panizza)
MovementDada,Expressionism,New Objectivity

George Grosz(German:[ɡʁoːs];bornGeorg Ehrenfried Groß;July 26, 1893 – July 6, 1959) was a German artist known especially for hiscaricaturaldrawings and paintings ofBerlinlife in the 1920s. He was a prominent member of the BerlinDadaandNew Objectivitygroups during theWeimar Republic.He emigrated to the United States in 1933, and became a naturalized citizen in 1938. Abandoning the style and subject matter of his earlier work, he exhibited regularly and taught for many years at theArt Students League of New York.In 1959 he returned to Berlin, where he died shortly afterwards.

Early life and education

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Made in Germany(‹See Tfd›German:Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolioGod with us(‹See Tfd›German:Gott mit Uns). Sheet 48.3 x 39.1 cm. In the collection of theMoMA

Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the third child of a pub owner. His parents were devoutlyLutheran.[1]Grosz grew up in thePomeraniantown ofStolp(nowSłupsk,Poland).[2]After his father's death in 1900, he moved to theWeddingdistrict of Berlin with his mother and sisters.[3]At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot.[4]Grosz developed his skills further by drawing meticulous copies of the drinking scenes ofEduard von Grützner,and by drawing imaginary battle scenes.[5]He was expelled from school in 1908 for insubordination.[6]

From 1909 to 1911, he studied at theDresden Academy of Fine Arts,where his teachers wereRichard Müller,Robert Sterl,Raphael Wehle, andOsmar Schindler.[3]His first published drawing was in the satirical magazineUlkin 1910.[6]From 1912 until 1917 he studied at theBerlin College of Arts and CraftsunderEmil Orlik.[3]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 avoid being sent to the front.[7]He was given a discharge after hospitalization forsinusitisin 1915.[7]In 1916 he changed the spelling of his name to "de-Germanise" and internationalise his name – thus Georg became "George" (an English spelling), while in his surname he replaced the German "ß"with its phonetic equivalent" sz ".[8]He did this as a protest against German nationalism[3]and out of a romantic enthusiasm for America[6]– a legacy of his early reading of the books ofJames Fenimore Cooper,Bret HarteandKarl May– that he retained for the rest of his life.[9]His artist friend and collaborator Helmut Herzfeld likewise changed his name toJohn Heartfieldat the same time.

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

Political engagement, 1918 to 1920

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George Grosz,Republican Automatons,1920, watercolor on paper,Museum of Modern Art,New York

Following theNovember Revolutionin the last months of 1918, Grosz joined theSpartacist League,[11]which was renamed theCommunist Party of Germany(KPD) in December 1918. He was arrested during theSpartakus uprisingin January 1919, but escaped using fake identification documents. In 1920 he married Eva Peters.[3]

In the same year he published a collection of his drawings, titledGott mit uns( "God with us" ), a satire on German society. Grosz was accused of insulting thearmy,which resulted in a 300German Markfine and the confiscation of the plates used to print the album.[12]He also organised and exhibited at theFirst International Dada Fair.

Trip to Russia, 1922/1923

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In 1922 Grosz traveled to Russia with the Danish writerMartin Andersen Nexø.Upon their arrival inMurmanskthey were briefly arrested as spies; after their credentials were approved, they were allowed to continue their journey. He met with severalBolshevikleaders such asGrigory Zinoviev,Karl Radek,andVladimir Lenin.[13]He went withArthur Holitscherto meetAnatoly Lunacharskywith whom he discussedProletkult.He rejected the concept of "proletarian culture", arguing that the term proletarian meant uneducated and uncultured. He regarded artistic talent as a "gift of the muses", which a person may be lucky enough to be born with.[14]There he also met the Constructivist artistVladimir Tatlin.[15]

Grosz's six-month stay in the Soviet Union left him unimpressed by what he had seen.[16]He ended his membership in the KPD in 1923, although his political positions were little changed.[17]

Later activities in Germany

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According to Grosz's sonMartin Grosz,during the 1920s Nazi officers visited Grosz's studio looking for him, but because he was wearing a working man's apron Grosz was able to pass himself off as a handyman and avoid being taken into custody.[18]His work was also part of thepainting eventin theart competitionat the1928 Summer Olympics.[19]

On December 10, 1928 he and his publisherWieland Herzfeldewere prosecuted and fined under charges ofblasphemyandsacrilegefor publishing twoanticlericaldrawings in his portfolio Hintergrund (Background).[20]One depicted prisoners under assault from a minister who vomits grenades and weapons onto them, and another featured a crucified Christ wearing a World War I gas mask and combat boots.

According to historian David Nash, Grosz "publicly stated that he was neither Christian norpacifist,but was actively motivated by an inner need to create these pictures ". He and his publisher appealed twice, and were finally acquitted in 1929 by the Reichsgericht in Berlin.[21]"The judge decided that it was not an offense to religion, but actually was an attack on militarism. The implication is that, from Grosz’s point of view, religion was being used as essentially an opiate of the masses to encourage soldiers to die for the state. 'Shut up and obey,' was the rubric associated with this," according to art criticCamille Paglia.[22][23]

In 1942Timemagazine identified Grosz as a pacifist.[24]

Emigration to the U.S.

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Bitterly anti-Nazi, Grosz left Germany shortly before Hitler came to power. In June 1932, he accepted an invitation to teach the summer semester at theArt Students League of New York.[25]In October 1932, Grosz returned to Germany, but on January 12, 1933, he and his family emigrated to the United States.[26]Their ship docked in New York on Jan. 23, 1933, a week before Hitler came to power in Berlin.[27]Grosz became anaturalized citizenof the U.S. in 1938, and made his home inBayside, New York.In the 1930s he taught at theArt Students League,where one of his students wasRomare Bearden,who was influenced by his style ofcollage.Grosz taught at the Art Students League until 1955.[28]His other students includedJoseph Glasco[29]andRobert Cenedella,whom he mentored from 1957 to 1959.[30]

Grosz' tomb in theFriedhof Heerstraße,Berlin

In America, Grosz determined to make a clean break with his past, and changed his style and subject matter.[31]He continued to exhibit regularly, and in 1946 he published his autobiography,Ein kleines Ja und ein großes Nein,first translated asA Little Yes and a Big No.From 1947 to 1959, George Grosz lived inHuntington, New York,where he taught painting at the Huntington Township Art League.[32]It is said by Huntington locals that he used what was to become his most famous painting,Eclipse of the Sun,to pay for a car repair bill, in his relative penury. The painting was later acquired by house painter Tom Constantine[33]to settle a debt of $104.00. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at theDes Moines Art Center.Grosz was elected into theNational Academy of Designas an Associate Academician in 1950. In 1954 he was elected to theAmerican Academy of Arts and Letters.

Personal life and death

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On May 26, 1920, Grosz married Eva Louise Peter, with whom he had two sons,Peter Grosz(1926–2006), a historian of early German aviation, andMarty Grosz(born 1930), a jazz guitarist.

Grosz resolved to return to Berlin, and relocated there in May 1959.[34] He died there on July 6, 1959, from the effects of falling down a flight of stairs after a night of drinking.[35]

Work

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Although Grosz made his first oil paintings in 1912 while still a student,[3] his earliest oils that can be identified date from 1916.[36] By 1914, Grosz worked in a style influenced byExpressionismandFuturism,as well as by popular illustration,graffiti,and children's drawings.[7]Sharply outlined forms are often treated as if transparent.The City(1916–17) was the first of his many paintings of the modern urban scene.[37]Other examples include the apocalypticExplosion(1917),Metropolis(1917), andThe Funeral,a 1918 painting depicting a mad funeral procession. He settled in Berlin in 1918 and was a founder of the BerlinDadamovement, using his satirical drawings to attack bourgeois supporters of theWeimar Republic.[38]

His drawings, usually in pen and ink which he sometimes developed further with watercolor, frequently included images of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects (for example, seeFit for Active Service). His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature in the style ofJugend.[38]Hisoeuvreincludes a few absurdist works, such asRemember Uncle August the Unhappy Inventorwhich has buttons sewn on it,[39]and also includes a number of erotic artworks.[40]

After his emigration to the USA in 1933, Grosz "sharply rejected [his] previous work, and caricature in general."[41]In place of his earlier corrosive vision of the city, he now painted conventional nudes and manylandscapewatercolors. More acerbic works, such asCain, or Hitler in Hell(1944), were the exception. In his autobiography, he wrote: "A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past."[42]Although a softening of his style had been apparent since the late 1920s, Grosz's work assumed a more sentimental tone in America, a change generally seen as a decline.[43]His late work never achieved the critical success of his Berlin years.[44]

In 1968, theHeckscher Museum of Artin Huntington purchased the paintingEclipse of the Sunfor $15,000.00, raising the money by public subscription. As it portrays the warmongering of arms manufacturers, this painting became a destination of protesters of theVietnam Warin Heckscher Park (where the museum is sited) in the late 1960s and early 70s.

In 2006, the Heckscher proposed sellingEclipse of the Sunat its then-current appraisal of approximately $19,000,000.00 to pay for repairs and renovations to the building. There was such public outcry that the museum decided not to sell, and announced plans to create a dedicated space for display of the painting in the renovated museum.[45]

Legacy and estate

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Grosz's art influenced otherNew Objectivityartists such asHeinrich Maria Davringhausen,Anton Räderscheidt,andGeorg Scholz.[46]In the United States, the artists influenced by his work included the social realistsBen ShahnandWilliam Gropper.[47]

In 1960, Grosz was the subject of the Oscar-nominated short filmGeorge Grosz' Interregnum.He is fictionalized as "Fritz Falke" inArthur R.G. Solmssen's novelA Princess in Berlin(1980). In 2002, actorKevin McKiddportrayed Grosz in a supporting role as an eager artist seeking exposure inMax,regardingAdolf Hitler's youth.

The Grosz estate filed a lawsuit in 1995 against the Manhattan art dealerSerge Sabarsky,arguing that Sabarsky had deprived the estate of appropriate compensation for the sale of hundreds of Grosz works he had acquired. In the suit, filed inNew York Supreme Courtin 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.[44]The lawsuit was settled in summer in 2006.[48]

In 2003 the Grosz family initiated a legal battle against theMuseum of Modern Artin New York City, asking that three paintings be returned. According to documents, the paintings were sold to the Nazis after Grosz fled the country in 1933. The museum never settled the claim, arguing that a three-yearstatute of limitationsin bringing such a claim had expired. It is well documented that the Nazis stole thousands of paintings during World War II and many heirs of German painters continue to fight museums in order to reclaim such works.[49]

In 2015, Ralph Jentsch – the managing director of the Grosz estate since 1994 – co-founded a Berlin-based nonprofit organization dedicated to the artist. In 2022, the Little Grosz Museum (Kleines Grosz Museum) opened in Berlin'sSchönebergdistrict. Housed in a midcentury former gas station that was converted to a living space in 2008, the museum is funded by private donors[50]and also houses a café and shop.[51]

Quotes

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  • "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 filled with fright, washing blood from his hands... I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket... I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry." — George Grosz[52]

See also

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Bibliography

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  • Bergius, Hanne.Das Lachen Dadas. Die Berliner Dadaisten und ihre Aktionen.Gießen: Anabas-Verlag, 1989.ISBN978-3-8703-8141-7
  • 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.ISBN978-3-786115-25-0
  • 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.ISBN978-0-816173-55-6
  • Grosz, George (1946).A Little Yes and a Big No.New York: The Dial Press.
  • Kranzfelder, Ivo (2005).George Grosz.Cologne:Taschen.ISBN3-8228-0891-1
  • Michalski, Sergiusz (1994).New Objectivity.Cologne: Taschen.ISBN3-8228-9650-0
  • Sabarsky, Serge, editor (1985).George Grosz: The Berlin Years.New York: Rizzoli.ISBN0-8478-0668-5
  • Schmied, Wieland (1978).Neue Sachlichkeit and German Realism of the Twenties.London: Arts Council of Great Britain.ISBN0-7287-0184-7
  • Vogel, Carol (7 October 2006)"Peter M. Grosz, 80, 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 expressionists and their circle: Collection of the Brooklyn Museum.New York: Brooklyn Museum.ISBN0872731154

References

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  1. ^Evjue, William Theodore (1960).The Progressive.RetrievedDecember 24,2011– viaGoogle Books.
  2. ^"munzinger.de".munzinger.de.RetrievedDecember 24,2011.
  3. ^abcdefgKranzfelder 2005, p. 92.
  4. ^Grosz 1946, p. 22.
  5. ^Grosz 1946, pp. 24, 26.
  6. ^abcSabarsky 1985, p.250.
  7. ^abcKranzfelder 2005, p. 15.
  8. ^The letter "ß" is called in German a "scharfes S" or "Eszett", the latter meaning simply "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 be found to substantiate the version of events described by Grosz in his autobiography, i.e., 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. ^Sybille Fuchs, Stefan Steinberg (February 17, 2023)."An exhibition in Berlin: German artist George Grosz in the Soviet Union in 1922".World Socialist Web Site.RetrievedFebruary 24,2023.
  16. ^Sabarsky 1985, pp. 33, 251.
  17. ^Kranzfelder 2005, p. 58.
  18. ^Remerowski, Ted; Canell, Marrin."Cultural Alchemy Special Berlin Sin City of the 1920's (Pre WW2)".Youtube.CBC (Canada). Archived fromthe originalon April 18, 2019.RetrievedDecember 29,2019.
  19. ^"George Grosz".Olympedia.RetrievedJuly 27,2020.
  20. ^"Grosz on Way Here to Instruct in Art," New York Times, May 27, 1932, p. 26.
  21. ^Nash, David S. (2007).Blasphemy in the Christian World: A History.Oxford: Oxford University Press. p. 112.ISBN9780199570751.
  22. ^C. Paul Vincent, "A historical dictionary of Germany's Weimar Republic, 1918-1933," Greenwood Press, 1997.
  23. ^Camille Paglia, "Taking Offense: When Art and the Sacred Collide," (lecture), Fordham University, April 25, 2012.
  24. ^"Art: GEORGE GROSZ".Time.September 14, 1942.RetrievedNovember 26,2019– via content.time.
  25. ^Kranzfelder 2005, p. 93.
  26. ^Kranzfelder 2005, p. 78.
  27. ^Rick Atkinson, "George Grosz and the Shame of the Fathers," The Washington Post, February 5, 1995, p. G04.
  28. ^Zeller, Ursula. "Grosz, George". Grove Art Online.
  29. ^Raeburn, Michael (2015).Joseph Glasco: The Fifteenth American.London: Cacklegoose Press. pp. 55, 61.ISBN9781611688542.
  30. ^Art Bastard(2016) 29:08–30:27
  31. ^Grosz 1946, pp. 301–302.
  32. ^"George Grosz at The Heckscher Museum of Art".October 10, 2019.
  33. ^"Thomas Constantine: The Second Acquirer Of George Grosz's" Eclipse Of The Sun "".April 20, 2011.
  34. ^Kranzfelder 2005, p. 90.
  35. ^Kranzfelder 2005, pp. 90–91.
  36. ^Kranzfelder 2005, p. 21.
  37. ^Kranzfelder 2005, p. 22.
  38. ^abGowing, Lawrence,ed., Biographical Encyclopedia of Artists, v.2 (Facts on File, 2005): 287.
  39. ^"Remember Uncle August the Unhappy Inventor".centrepompidou.fr. Archived fromthe originalon April 10, 2008.RetrievedApril 1,2008.
  40. ^"George Grosz erotic artwork".AMEA/World Museum of Erotic Art. Archived fromthe originalon January 20, 2008.RetrievedApril 2,2008.
  41. ^Grosz 1946, p. 276.
  42. ^Grosz 1946, p. 270.
  43. ^Michalsky 1994, pp. 35–36.
  44. ^abJoyce Wadler (August 27, 2001),The Heirs of George Grosz Battle His Dealer's Ghost; A Protracted Lawsuit Outlives Its Target, But Not Its AngerNew York Times.
  45. ^Genocchio, Benjamin (February 19, 2006)."George Grosz,Eclipse of the Sun,Heckscher Museum of Art ".The New York Times.
  46. ^Michalsky 1994, pp. 33, 100.
  47. ^Walker et al. 1988, p. 21.
  48. ^Robin Pogrebin (November 15, 2006),Met Won’t Show a Grosz at Center of a DisputeNew York Times.
  49. ^Singal, Jesse (December 21, 2013),"Critics say U.S. museums holding onto Nazi looted art",USA Today.Retrieved March 27, 2018.
  50. ^Kimberly Bradley (20 May 2022),George Grosz, Sharp-Eyed Berlin Observer, Comes HomeNew York Times.
  51. ^Catherine Hickley (2 February 2022),Museum devoted to George Grosz to open in a former Berlin petrol stationThe Art Newspaper.
  52. ^Friedrich, Otto (1986). Before the Deluge. USA: Fromm International Publishing Corporation. pp. 37.ISBN0-88064-054-5
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