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Savage caricatures: Acerbic painting as social commentary   George Grosz (1893–1959) was one of the most important exponents of Dadaism, and therefore of political painting in general. He not only condemned both militarism and bourgeois culture, but also set himself in opposition to traditional forms of art. The decisive element in Grosz’s paintings is their content: in them he pointed out defects in the political and social conditions, literally arraigning them before the public. For Grosz, painting served as a political instrument: “I drew and painted from a sense of contradiction and through my work tried to convince the world that it was ugly, sick, and phony.” Fascinated by the metropolis, Grosz depicted the wild and dissolute life in the bars and nightclubs of the Weimar Republic in the 1920s. He directed his attention to the shady side of life and filled his canvas with caricatures of distorted figures. Grosz never permitted human beings to emerge as individuals, but instead always portrayed types, as representatives of a social level or class. After the publication of his candidly drawn “pornographic illustrations,” Grosz fell under strong criticism in the 1920s. The Nazis castigated his works as “degenerate art.”   About the Series: Each book in TASCHEN’s Basic Art Series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions

VG condition book with dust jacket. DJ is clean with some light toning and has little wear to edges. Book has clean and bright contents.

Inspired by the same society that gave rise to Christopher Isherwood’s Berlin stories and novels, the drawings in George Grosz: The Big No present a caustic, comic view of Germany in the troubled years of the Weimar Republic. Ranging from primitive and graffiti-like drawings to complex Futurist street scenes with teeming crowds of overlapping figures, this collection shows Grosz at the height of his satirical powers, through the works from his largest portfolio, Ecce Homo. Pimps, black-marketeers, prostitutes, demobbed soldiers and the nouveau-riche rub shoulders in drawings of razor-sharp acuity and technical precision. Also included are the powerful, anti-militarist Hintergrund drawings, originally published in 1928 to accompany Erwin Piscator’s production of The Good Soldier Schwejk, which resulted in criminal charges being brought against Grosz for “blasphemy and defamation of the German military.” George Grosz: The Big No is an essential guide to one of the twentieth century’s most important satirists.

pp. 355, colour illustrations.

Unread book in perfect condition.

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This acclaimed autobiography by one of the twentieth century's greatest satirical artists is as much a graphic portrait of Germany in chaos after the Treaty of Versailles as it is a memoir of a remarkable artist's development. Grosz's account of a world gone mad is as acute and provocative as the art that depicts it, and this translation of a work long out of print restores the spontaneity, humor, and energy of the author's German text. It also includes a chapter on Grosz's experience in the Soviet Union--omitted from the original English-language edition--as well as more writings about his twenty-year self-imposed exile in America, and a fable written in English.

Translated from the German by Susanne Flatauer. With contributions by Georg Bussmann and Marina Schneede-Sczesny. Frontispiece, table of contents, foreword by the author, endnotes, list of illustrations, photocredits and acknowledgments, bibliography, index. Black and white illustrations throughout. 182 pages. stiff paper wrappers. 8vo..

George Grosz (1893–1959) was a prominent member of the Berlin Dada and New Objectivity group. He was born Georg Ehrenfried Groß in Berlin, but changed his name in 1916 out of a romantic enthusiasm for America. Anti-Nazi, Grosz left Germany in 1932, and in 1933 was invited to teach at the Art Students League of New York, where he would teach intermittently until 1955. Over 500 illustrations, drawings, and paintings in this book document the entire output of the artist’s German and American years, including drawings spanning from when the artist was the age of fifteen to his paintings made during his U.S. period. Also included are sketches of stage designs he created between 1919–1954 for theatre pieces by Bernard Shaw, Iwan Goll, Georg Kaiser, Paul Zech, and Jaroslav Kaek, as well as numerous collages. The volume is complete with unpublished photographs from the painter’s private life and two essays by Enrico Crispolti and Philippe Dagen.

Berlin, Propyläen, 1979. 4°. 263 S. OLwd. mit OUmschl. in OSchuber, sehr gut erhalten. (s. Foto). Sprache: de

George Grosz's name is closely linked to the art of the 1920s in Berlin. Famous for his drawings and paintings, Grosz was also a costume and set designer, writer and political commentator. This book presents a cross-section of his work, including his late work in America.

George Grosz (1893–1959) was a prominent member of the Berlin Dada and New Objectivity group. He was born Georg Ehrenfried Groß in Berlin, but changed his name in 1916 out of a romantic enthusiasm for America. Anti-Nazi, Grosz left Germany in 1932, and in 1933 was invited to teach at the Art Students League of New York, where he would teach intermittently until 1955. Over 500 illustrations, drawings, and paintings in this book document the entire output of the artist’s German and American years, including drawings spanning from when the artist was the age of fifteen to his paintings made during his U.S. period. Also included are sketches of stage designs he created between 1919–1954 for theatre pieces by Bernard Shaw, Iwan Goll, Georg Kaiser, Paul Zech, and Jaroslav Kaek, as well as numerous collages. The volume is complete with unpublished photographs from the painter’s private life and two essays by Enrico Crispolti and Philippe Dagen.

George Grosz's famous drawings of the plutocrats, militarists, industrialists, and war profiteers of the Weimar Republic speak as powerfully now as when they were first created, and Beth Lewis's penetrating account of the artist's career addresses the source of the passion behind the pictures: Grosz was a profoundly political man who raged against oppression and stupidity. He satirized the Germany of his time so bitterly and so perceptively that his pictures seem to confront today's evils as well. From Grosz's influential part in the anarchic Berlin dada movement through his years of association with the Communists and his later disillusionment with the party, Lewis provides a vivid picture of the life of a superb artist in political context. Illustrated with over eighty of Grosz's drawings, this work is also a stimulating analysis of the question of dissent in a democratic society. An extensive and completely updated bibliography is provided. "Here is a complex character lovingly, intelligently, and elegantly presented by an author fully familiar with the world Grosz moved in."--Istvan Deak, Journal of Modern History

This acclaimed autobiography by one of the twentieth century's greatest satirical artists is as much a graphic portrait of Germany in chaos after the Treaty of Versailles as it is a memoir of a remarkable artist's development. Grosz's account of a world gone mad is as acute and provocative as the art that depicts it, and this translation of a work long out of print restores the spontaneity, humor, and energy of the author's German text. It also includes a chapter on Grosz's experience in the Soviet Union―omitted from the original English-language edition―as well as more writings about his twenty-year self-imposed exile in America, and a fable written in English.

Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.05

Originalverschweißt. - Ab Mitte der 1940er Jahre, als Reaktion auf die erschütternden Nachrichten über den Holocaust und die anderen Gräueltaten des 2. Weltkriegs, schuf George Grosz seine letzte große Werkreihe, bestehend aus Gemälden und Aquarellen: die 'Stick Men'. Der Abwurf der Atombomben am Ende des Krieges und die Gefahr eines Dritten Weltkriegs potenzierten seinen Pessimismus hinsichtlich der Zukunft der Menschheit. So stellte er seine 'Stockmänner' als entmenschlichte und ausgehungerte Wesen dar, die ziellos durch eine verseuchte, postapokalyptische Welt irren. Der Katalog macht überdeutlich, wie falsch das weit verbreitet Vorurteil ist, Grosz sei während seiner amerikanischen Jahre 'weich' und unpolitisch geworden. Das Gegenteil ist der Fall: In der Serie kulminieren die politischen und künstlerischen Überzeugungen seines lebenslangen Kampfes. Die 'Stick Men sind sein künstlerisches Vermächtnis, das angesichts der aktuellen Weltlage nicht aktueller und relevanter sein könnte.Text: Juerg Judin, Pay Matthis Karstens, Alice Delage, Karli Wurzelbacher. 148 pp. Englisch, Deutsch.

George Grosz's famous drawings of the plutocrats, militarists, industrialists, and war profiteers of the Weimar Republic speak as powerfully now as when they were first created, and Beth Lewis's penetrating account of the artist's career addresses the source of the passion behind the pictures: Grosz was a profoundly political man who raged against oppression and stupidity. He satirized the Germany of his time so bitterly and so perceptively that his pictures seem to confront today's evils as well. From Grosz's influential part in the anarchic Berlin dada movement through his years of association with the Communists and his later disillusionment with the party, Lewis provides a vivid picture of the life of a superb artist in political context. Illustrated with over eighty of Grosz's drawings, this work is also a stimulating analysis of the question of dissent in a democratic society. An extensive and completely updated bibliography is provided. "Here is a complex character lovingly, intelligently, and elegantly presented by an author fully familiar with the world Grosz moved in."--Istvan Deak, Journal of Modern History

HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Grosz's childhood drawings, cariatures, satirical art, sketches of people, street scenes, landscapes, nude studies. Complete summary catalogue of all extant sketchbooks on the witty, humane observer and former Berlin Dada activist. Distributed by Woodstocker Books.

By Sabine Rewald with an essay by Ian Buruma This overdue investigation of George Grosz's (1893-1959) most compelling paintings, drawings, prints, and collages offers a reassessment of the celebrated German Expressionist during his years in Berlin-from his earliest artistic endeavors to the trenchant satirical images and searing depictions of moral decay between the World Wars for which he is known today. Menacing street scenes, rowdy cabarets, corrupt politicians, wounded soldiers, greedy war profiteers, and other symbols of Berlin's interwar decline all met with the artist's relentless gaze, which exposed the core social issues that eventually led to Germany's extreme nationalist politics. Featuring masterpieces as well as rarely published works, this book provides further insight into the artist's creative pinnacle, reached during this critical and ominous period in German history. Sabine Rewald is curator emerita in the Department of Modern and Contemporary Art at The Metropolitan Museum of Art, New York. Ian Buruma is an author based in New York and was the editor of the New York Review of Books from 2017 to 2018.