Grosz, George

orig. Georg Grosz

born July 26, 1893, Berlin, W.Ger.

died July 6, 1959, West Berlin

German-born U.S. painter, draftsman, and illustrator.

After studying art in Dresden and Berlin, he began selling caricatures to magazines. During World War I he served in the German army; discharged as unfit in 1917, he moved into a garret studio in Berlin, and by the end of the war he had developed a graphic style that combined a highly expressive use of line with ferocious social satire. His depictions of war and depravity provided some of the most vitriolic social criticism of his time. From 1918 to 1920 he was a prominent member of the Dada group in Berlin. His Face of the Ruling Class (1921) and Ecce Homo (1922), collections of drawings featuring greedy capitalists, war profiteering, and social decadence, earned him an international reputation. In 1932 he immigrated to the U.S., where he taught at New York's Art Students League while continuing to produce magazine cartoons, nudes, and landscapes.

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▪ German artist

born July 26, 1893, Berlin, Germany

died July 6, 1959, West Berlin, West Germany [now Berlin, Germany]

 German artist whose caricatures and paintings provided some of the most vitriolic social criticism of his time.

      After studying art in Dresden and Berlin from 1909 to 1912, Grosz sold caricatures to magazines and spent time in Paris during 1913. When World War I broke out, he volunteered for the infantry, but he was invalided in 1915 and moved into a garret studio in Berlin. There he sketched prostitutes, disfigured veterans, and other personifications of the ravages of war. In 1917 he was recalled to the army as a trainer, but shortly thereafter he was placed in a military asylum and was discharged as unfit.

      By the war's end in 1918, Grosz had developed an unmistakable graphic style that combined a highly expressive use of line with ferocious social caricature. Out of his wartime experiences and his observations of chaotic postwar Germany grew a series of drawings savagely attacking militarism, war profiteering, the gulf between rich and poor, social decadence, and Nazism. In drawing collections such as The Face of the Ruling Class (1921) and Ecce Homo (1922), Grosz depicts fat Junkers (Junker), greedy capitalists, smug bourgeoisie, drinkers, and lechers—as well as hollow-faced factory labourers, the poor, and the unemployed.

      At this time Grosz belonged to the Berlin Dada art movement, having befriended the German Dadaist brothers Wieland Herzfelde and John Heartfield in 1915. Gradually, Grosz became associated with the Neue Sachlichkeit (“New Objectivity”) movement, which embraced realism as a tool of satirical social criticism.

      After immigrating to the United States in 1933 to teach at the Art Students League in New York City, Grosz's work became less misanthropic, as he drew magazine cartoons, nudes, and landscapes. He became a U.S. citizen in 1938. During World War II he showed his old pessimism in sharply coloured, teeming canvases such as The Survivor (1944). So famous and threatening were Grosz's depictions of war and corruption that the Nazis designated him “Cultural Bolshevist Number One.” A French critic called his work “the most definitive catalog of man's depravity in all history.” Grosz died in West Berlin about three weeks after returning to his native country for a visit.

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