George Grosz

George Grosz was a German artist known for his influential contributions to the Dada and New Objectivity movements. Born as Georg Ehrenfried Groß on July 26, 1893, in Berlin, Germany, he adopted the pseudonym George Grosz later. His life and work were shaped by the tumultuous events of the early 20th century, including World War I, the Weimar Republic, and the rise of Adolf Hitler.

Biography of George Grosz

Grosz grew up in a lower-middle-class family and displayed artistic talent from a young age. In 1909, he enrolled at the Dresden Academy of Fine Arts, where he studied under the tutelage of Richard Müller and Robert Sterl, and then transferred to the Berlin College of Arts and Crafts (1912). In 1913 George Grosz spent eight months in Paris at the Académie Colarossi.

In an attempt to evade frontline duty, George Grosz courageously volunteered for military service in November 1914, intending to preempt conscription. He hoped to secure a different role within the military. However, his journey took an unexpected turn when he was hospitalized due to sinusitis in 1915, leading to his discharge from service.

In 1916, George Grosz decided to change the spelling of his name, aiming to "de-Germanize" it and imbue it with an international flair. This act represented his desire to transcend national boundaries and embrace a more cosmopolitan identity.

Collaborating with Franz Jung, George Grosz played a pivotal role in establishing the inaugural German Dada periodical, Neue Jugend. This marked the beginning of a spirited rebellion campaign against the military establishment. Notably, Theodor Däubler published the first article highlighting Grosz's artistic contributions. Furthermore, Grosz embarked on a fruitful collaboration with Helmut Herzfeld, who would later adopt the pseudonym John Heartfie to create visually striking montages. 

In January 1917, George Grosz received his draft notice for military service. However, in May of the same year, he was discharged due to being deemed permanently unfit for duty.

In the last months of 1918, following the November Revolution, George Grosz aligned himself with the Spartacist League, a left-wing political organization in Germany. This league later underwent a name change and became known as the Communist Party of Germany (KPD) in December 1918. By joining this party, Grosz expressed his commitment to the ideals and principles of communism during a transformative period in German history.

In 1920, George Grosz released a collection of his drawings titled "Gott mit uns" ("God with us"), a satirical critique of German society. Unfortunately, Grosz faced accusations of insulting the army through his work, leading to a fine of 300 German Marks and the confiscation of the plates used for printing the album. 

In 1922, George Grosz embarked on a transformative journey to the Soviet Union for five months. The experience of witnessing the Soviet regime firsthand had a profound impact on him. As a result, he decided to part ways with the Communist Party, signifying a shift in his political beliefs and ideological alignment. This period of travel and reflection marked a significant turning point in Grosz's life and artistic journey.

In 1928, George Grosz exhibited his immense talent by creating a multitude of stage designs, watercolors, drawings, and images for backcloth projection. However, his artistic expression did not come without controversy. The works published in the portfolio titled "Hintergrund" (Background) stirred up accusations of blasphemy against Grosz. These accusations further emphasized the provocative and boundary-pushing nature of his art, showcasing his willingness to challenge societal norms and push the limits of artistic expression.

Post-war Germany

The experience of serving in World War I deeply affected Grosz, and it became a recurring theme in his art. He created compelling works that criticized the military and political elites, exposing the hypocrisy and corruption prevalent in German society. His drawings and paintings were characterized by their grotesque and satirical style, often portraying distorted figures and scathing caricatures.

During his time in Berlin, Grosz became associated with the Expressionist movement, which focused on portraying raw emotions and societal critique through art. He co-founded the artist group Die Neue Sachlichkeit (New Objectivity) alongside Otto Dix and Max Beckmann, and others. This movement sought to depict the harsh realities of post-war Germany with sharp social commentary. The emergence of Die Neue Sachlichkeit (New Objectivity) as an artistic movement met an unfortunate demise with the rise of the Nazis and the subsequent collapse of the Weimar Republic in 1933.

In 1920 Grosz co-founded the Berlin Dada movement, which sought to challenge conventional art forms and societal norms through absurdity and provocative anti-establishment actions. He participated in Dadaist performances, collaborated with other artists, and contributed to various publications. His incisive illustrations and collages provided scathing critiques of the government, the military, and bourgeois values.

Grosz's provocative and politically charged art drew the ire of authorities. He faced numerous legal troubles for his work. In 1928, he faced blasphemy charges for a satirical depiction of Jesus in a brothel, but he was eventually acquitted.

George Grosz's American period

In June 1932, George Grosz was invited to share his knowledge and expertise as a teacher for the summer semester at the prestigious Art Students League of New York. Grosz dedicated a significant portion of his career to teaching at the Art Students League, and this commitment lasted until 1955. 

He sought refuge in the United States in 1933 and settled in New York City. In this new environment, Grosz shifted his focus from political satire to portraiture and landscapes, reflecting the changes in his surroundings. 

In 1937, George Grosz produced a series of politically charged collages that focused on the Spanish Civil War, using his art for commentary and social critique. In that same year, he was honored with a prestigious Guggenheim Fellowship.

In 1938, George Grosz became an American citizen. This decision marked a new chapter in his life as he embraced his adopted homeland. Additionally, his artistic achievements were recognized by the esteemed Art Institute of Chicago, which dedicated a solo exhibition to showcase his remarkable work.   

From 1947 to 1959, George Grosz resided in Huntington, New York, establishing his home and creative base in this picturesque location. Embracing his role as an educator, Grosz devoted his time and expertise to teaching painting at the Huntington Township Art League.

During the 1950s, George Grosz expanded his involvement in the art community in various ways. Firstly, he opened a private art school within the confines of his own home. Additionally, he served as an Artist in Residence at the Des Moines Art Center. His accomplishments continued to be recognized, with his election to the prestigious American Academy of Arts and Letters in 1954, solidifying his status as a highly esteemed artist within the American artistic sphere.

Grosz's American period marked a shift in his artistic style as he embraced more realistic and romanticized approaches. He gained recognition for his striking watercolor paintings, capturing the vibrant life of the city and its inhabitants. However, his works from this time still retained his critical spirit, exploring themes such as capitalism, consumerism, and the social inequalities of American society.

Despite his success in the United States, Grosz's longing for his homeland remained. He became disillusioned with American society and returned to Germany in 1959, settling in Berlin. He continued to produce art until his death on July 6, 1959, leaving behind a significant body of work that still resonates with audiences today.