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GEORGE GROSZ (Berlin, 1893 - 1959)."Standgut, 1940.Graphite on paper.With stamp on the reverse.
1/5
Description
GEORGE GROSZ (Berlin, 1893 - 1959).
"Standgut, 1940.
Graphite on paper.
With stamp on the reverse.
With slight rust stains.
Measurements: 23 x 30,5 cm.
An agitator artist who used art as a weapon against the convulsive situation in the Germany of his time, George Grosz knew how to read the omens that spoke of the coming of the Second World War, and he also showed concern for the Spanish Civil War. In fact, his work focuses on the social conflicts and political events of his time, reflected through mass events ("The Funeral", ca. 1917-18) or through everyday personalities, as in his drawings. Grosz was a leading representative of the Berlin Dada movement and later evolved into one of the main masters of the New Objectivity during his time in the Weimar Republic before emigrating to the United States in 1933, escaping at the last moment from the Gestapo. He developed his training within a classicist environment, studying between 1990 and 1912 at the Dresden Academy and, between 1912 and 1917, at the Berlin Academy of Arts and Crafts, where he was a pupil of Emil Orlík. Around this time his intention was to become a hisrothetist, although he also devoted himself to copying works by masters of the Central European tradition, particularly the paintings by Rubens in the Dresden Picture Gallery. In 1913 he travelled to Paris, where he came into contact with the avant-garde movements, particularly Cubism and Futurism. In the French capital he was also able to see at first hand the work of Goya, Toulouse-Lautrec and Honoré Daumier, artists with whom he largely shared his personal sensibility and aesthetic. During these years his language underwent a notable evolution, along the lines of the formal simplification of Cubism and the strength of Expressionism, which was key to the development of German art at the time. In 1914 Grosz enlisted in the army, although he was discharged two years later owing to health problems. Between 1915 and 1917 he concentrated on reflecting the horror of the war and the decline in morale caused by the Prussian defeat through an increasingly simplified language. Around 1920 he immersed himself in Dadaism and his language continued to evolve on a conceptual level, also as a result of his adherence to Communism, impressed by the Russian Revolution. From that time onwards he had a succession of problems with the state as a result of his political activism. During these years he concentrated on drawing, gradually turning his attention to apocalyptic and violent urban visions, with a clear political message, becoming part of the left wing of the New Objectivity. Branded a degenerate artist by the Nazis, Grosz left Germany and settled in New York, where he worked as a teacher.
"Standgut, 1940.
Graphite on paper.
With stamp on the reverse.
With slight rust stains.
Measurements: 23 x 30,5 cm.
An agitator artist who used art as a weapon against the convulsive situation in the Germany of his time, George Grosz knew how to read the omens that spoke of the coming of the Second World War, and he also showed concern for the Spanish Civil War. In fact, his work focuses on the social conflicts and political events of his time, reflected through mass events ("The Funeral", ca. 1917-18) or through everyday personalities, as in his drawings. Grosz was a leading representative of the Berlin Dada movement and later evolved into one of the main masters of the New Objectivity during his time in the Weimar Republic before emigrating to the United States in 1933, escaping at the last moment from the Gestapo. He developed his training within a classicist environment, studying between 1990 and 1912 at the Dresden Academy and, between 1912 and 1917, at the Berlin Academy of Arts and Crafts, where he was a pupil of Emil Orlík. Around this time his intention was to become a hisrothetist, although he also devoted himself to copying works by masters of the Central European tradition, particularly the paintings by Rubens in the Dresden Picture Gallery. In 1913 he travelled to Paris, where he came into contact with the avant-garde movements, particularly Cubism and Futurism. In the French capital he was also able to see at first hand the work of Goya, Toulouse-Lautrec and Honoré Daumier, artists with whom he largely shared his personal sensibility and aesthetic. During these years his language underwent a notable evolution, along the lines of the formal simplification of Cubism and the strength of Expressionism, which was key to the development of German art at the time. In 1914 Grosz enlisted in the army, although he was discharged two years later owing to health problems. Between 1915 and 1917 he concentrated on reflecting the horror of the war and the decline in morale caused by the Prussian defeat through an increasingly simplified language. Around 1920 he immersed himself in Dadaism and his language continued to evolve on a conceptual level, also as a result of his adherence to Communism, impressed by the Russian Revolution. From that time onwards he had a succession of problems with the state as a result of his political activism. During these years he concentrated on drawing, gradually turning his attention to apocalyptic and violent urban visions, with a clear political message, becoming part of the left wing of the New Objectivity. Branded a degenerate artist by the Nazis, Grosz left Germany and settled in New York, where he worked as a teacher.
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GEORGE GROSZ (Berlin, 1893 - 1959).
"Standgut, 1940.
Graphite on paper.
With stamp on the reverse.
With slight rust stains.
Measurements: 23 x 30,5 cm.
An agitator artist who used art as a weapon against the convulsive situation in the Germany of his time, George Grosz knew how to read the omens that spoke of the coming of the Second World War, and he also showed concern for the Spanish Civil War. In fact, his work focuses on the social conflicts and political events of his time, reflected through mass events ("The Funeral", ca. 1917-18) or through everyday personalities, as in his drawings. Grosz was a leading representative of the Berlin Dada movement and later evolved into one of the main masters of the New Objectivity during his time in the Weimar Republic before emigrating to the United States in 1933, escaping at the last moment from the Gestapo. He developed his training within a classicist environment, studying between 1990 and 1912 at the Dresden Academy and, between 1912 and 1917, at the Berlin Academy of Arts and Crafts, where he was a pupil of Emil Orlík. Around this time his intention was to become a hisrothetist, although he also devoted himself to copying works by masters of the Central European tradition, particularly the paintings by Rubens in the Dresden Picture Gallery. In 1913 he travelled to Paris, where he came into contact with the avant-garde movements, particularly Cubism and Futurism. In the French capital he was also able to see at first hand the work of Goya, Toulouse-Lautrec and Honoré Daumier, artists with whom he largely shared his personal sensibility and aesthetic. During these years his language underwent a notable evolution, along the lines of the formal simplification of Cubism and the strength of Expressionism, which was key to the development of German art at the time. In 1914 Grosz enlisted in the army, although he was discharged two years later owing to health problems. Between 1915 and 1917 he concentrated on reflecting the horror of the war and the decline in morale caused by the Prussian defeat through an increasingly simplified language. Around 1920 he immersed himself in Dadaism and his language continued to evolve on a conceptual level, also as a result of his adherence to Communism, impressed by the Russian Revolution. From that time onwards he had a succession of problems with the state as a result of his political activism. During these years he concentrated on drawing, gradually turning his attention to apocalyptic and violent urban visions, with a clear political message, becoming part of the left wing of the New Objectivity. Branded a degenerate artist by the Nazis, Grosz left Germany and settled in New York, where he worked as a teacher.
"Standgut, 1940.
Graphite on paper.
With stamp on the reverse.
With slight rust stains.
Measurements: 23 x 30,5 cm.
An agitator artist who used art as a weapon against the convulsive situation in the Germany of his time, George Grosz knew how to read the omens that spoke of the coming of the Second World War, and he also showed concern for the Spanish Civil War. In fact, his work focuses on the social conflicts and political events of his time, reflected through mass events ("The Funeral", ca. 1917-18) or through everyday personalities, as in his drawings. Grosz was a leading representative of the Berlin Dada movement and later evolved into one of the main masters of the New Objectivity during his time in the Weimar Republic before emigrating to the United States in 1933, escaping at the last moment from the Gestapo. He developed his training within a classicist environment, studying between 1990 and 1912 at the Dresden Academy and, between 1912 and 1917, at the Berlin Academy of Arts and Crafts, where he was a pupil of Emil Orlík. Around this time his intention was to become a hisrothetist, although he also devoted himself to copying works by masters of the Central European tradition, particularly the paintings by Rubens in the Dresden Picture Gallery. In 1913 he travelled to Paris, where he came into contact with the avant-garde movements, particularly Cubism and Futurism. In the French capital he was also able to see at first hand the work of Goya, Toulouse-Lautrec and Honoré Daumier, artists with whom he largely shared his personal sensibility and aesthetic. During these years his language underwent a notable evolution, along the lines of the formal simplification of Cubism and the strength of Expressionism, which was key to the development of German art at the time. In 1914 Grosz enlisted in the army, although he was discharged two years later owing to health problems. Between 1915 and 1917 he concentrated on reflecting the horror of the war and the decline in morale caused by the Prussian defeat through an increasingly simplified language. Around 1920 he immersed himself in Dadaism and his language continued to evolve on a conceptual level, also as a result of his adherence to Communism, impressed by the Russian Revolution. From that time onwards he had a succession of problems with the state as a result of his political activism. During these years he concentrated on drawing, gradually turning his attention to apocalyptic and violent urban visions, with a clear political message, becoming part of the left wing of the New Objectivity. Branded a degenerate artist by the Nazis, Grosz left Germany and settled in New York, where he worked as a teacher.
24th November - 19th & 20th Century Arts & Berlanga´s Privat Collection
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