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.

George Grosz, an autobiography

GROSZ, George

Nora Hodges (transl.)

Biographies & Memoirs

Macmillan

Berlin of George Grosz: Drawings, Watercolours & Prints 1912-1930

Arts & Photography

Frank Whitford & Christopher Clark

Individual Artists

Royal Academy of Arts / Yale

The locale of these 120 brilliantly satiric drawings is that of Berlin in the 1920s, but a most remarkable thing about them is their startling contemporaneity. We have to keep reminding ourselves that they were not drawn in New York, London, and Paris of the twenty-first century but in the sensation-hungry, inflation-fed milieu of the Weimar Republic. "On an Expense Account," for example, shows a well-fed businessman and his wife. We see only his back and neck, note her tastelessly modish skirts, and we know the whole story. "Total Devotion from 5:00 to 7:00" is a cocktail-bar scene, and in the dancing of the slick-haired man and the posture of his partner there is something depraved because it is only sensual. "Lunch" depicts a matron with unmistakably porcine features holding knife and fork affectedly as she swills. Her dining partner needs no animalization; the blasé bag below his eye, the expression, and the fold below his chin are enough. Can prostitutes, contrary to sentimental folklore, appear smug, bloated with satisfaction, and wallowing in cheap gratification? See "Transit Trade" to realize the effects of mindless materialism. Schiller wrote, "Swim if you can and if you are too weak, sink." Grosz takes this as his text for a compelling contrast between rich and poor in just two figures that completely refute the Übermensch doctrine. Hemingway in Nada did not depict more tellingly the utter despair of empty lives in the hour when the café closes than does Grosz in "They Don't Sing Any More." Love Above All? We are only partway through this portfolio when we realize suddenly how bitterly sarcastic is the title. But the mordant eye, angry wit, and social consciences of Grosz were shared by many of his period. What lifts his art above the transient event is his supremely eloquent use of pen and brush. No one has more expressively, piercingly, and economically, drawn the scenes of his special civilization—so strangely like ours — than did George Grosz.

Love Above All and Other Drawings: 120 Works (Dover Fine Art, History of Art)

Humor & Entertainment

Dover Publications

100 drawings, including 16 in full color, by master satirist and accomplished draftsman George Grosz (1893-1959). First published in 1923 but suppressed, the collection offers an unsparing vision of human nakedness, lust, greed and cruelty. The 16 watercolors reveal artist’s perception with particular clarity.

Ecce Homo (Dover Art Collections)

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.

George Grosz: An Autobiography

McCloskey, Barbara

Hodges, Nora

History & Criticism

University of California Press

The Face of the Ruling Class

Comics & Graphic Novels

How To Create Comics & Manga

Random House, Inc.

The Day of Reckoning

Love Above All (English and German Edition)

Schocken Books

Allison & Busby, 1984, As new., Fine, bright, clean, tight. Introduction and notes by Frank Whitford. [Humor, Political cartoons] Out-of-print and antiquarian booksellers since 1933. We pack and ship with care.

The day of reckoning

Distributed in the USA by Schocken Books

Throughout the twentieth century, the evolution of mainstream Modernism in the arts has been shadowed and made complex by alternative expressions of a seemingly retrograde type, art that appears to set back the clock or to redirect the stream of progress. Modern Art Despite Modernism explores the anti-Modernist impulse in painting and sculpture through socio-cultural conflicts of the 1920s, 30s and 40s. Texts by Robert Storr advocate the strengths of this impulse in paintings and drawings by Otto Dix, Lucian Freud, Francesco Clemente and even Pablo Picasso--and note the enduring popularity of such artists as Pavel Tchelitchew, whose "Hide and Seek," along with Andrew Wyeth's "Christina's World," remain among the public's favorite pictures. Storr also discusses taste and its implications, both part and present, for institutions like The Museum of Modern Art. This book was published as the second in a series of three titles, in conjunction with the millennial exhibitions schedule of MoMA2000 at The Museum of Modern Art, New York.

Modern Art Despite Modernism

Matisse, Henri

BACON, FRANCIS

O'Keeffe, Georgia

Dalí, Salvador

Shahn, Ben

Balthus

Lowry, Glenn

RICHTER, Gerhard

Clemente, Francesco

Lowry, Glenn D.

Beckmann, Max

De Chirico, Giorgio

FREUD, Lucian

STORR, Robert

The Museum of Modern Art, New York

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