George Grosz (/ɡroʊs/; German: [ɡʁoːs] ; born Georg Ehrenfried Groß; July 26, 1893 – July 6, 1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity groups during the Weimar 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 the Art Students League of New York. In 1959 he returned to Berlin, where he died shortly afterwards.
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👉 George Grosz in the context of Dada
Dada (/ˈdɑːdɑː/) or Dadaism was an international art movement that developed in the context of the Great War and Futurism first established in Zürich, Switzerland, and later quickly spread to Berlin, Paris, New York City and a variety of artistic centers in Europe and Asia. The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916. Ball is seen as the founder of the Dada movement. Key figures in the movement included Hugo Ball, Emmy Hennings, Jean Arp, Johannes Baader, Marcel Duchamp, Max Ernst, Elsa von Freytag-Loringhoven, George Grosz, Raoul Hausmann, John Heartfield, Hannah Höch, Richard Huelsenbeck, Francis Picabia, Man Ray, Hans Richter, Kurt Schwitters, Sophie Taeuber-Arp, Tristan Tzara, and Beatrice Wood, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including Surrealism, nouveau réalisme, pop art, and Fluxus.
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George Grosz in the context of First International Dada Fair
The First International Dada Fair took place in Berlin at the gallery of Dr. Burchard, from 30 June to 25 August 1920. It was to become the most famous of all Berlin Dada's exploits. It featured almost 200 works by artists including Hans Arp, Max Ernst, Hannah Höch, Francis Picabia, and Rudolf Schlichter, as well as key works by George Grosz, John Heartfield, and Raoul Hausmann. The work Tatlin at Home, 1920, can be clearly seen in one of the publicity photos taken by a professional photographer; the exhibition, whilst financially unsuccessful, gained prominent exposure in Amsterdam, Milan, Rome, and Boston. The exhibition also proved to be one of the main influences on the content and layout of Entartete Kunst, the show of degenerate art put on by the Nazis in 1937, with key slogans such as "Nehmen Sie DADA Ernst" and "Take Dada Seriously!" appearing in both exhibitions.