new-york

George Grosz

David Nolan Gallery

George Grosz’s time of greatness was during the Weimar Republic, when he, together with Otto Dix and Kurt Günther, produced what art historian Franz Roh describes as “a new kind of painting: art engagé.” The densely packed, often chaotic and grotesque paintings Grosz made around this time sprawl over the canvas, unlike the graphic works he produced for political journals, which are brilliantly pithy. At once vicious cartoons and pointed journalism, his drawings and lithographs are more clearly addressed to the German public than the grand paintings are. Indeed, if Grosz was, on the one hand, a sardonic journalist, deeply engaged with the everyday world around him, he was, on the other, a would-be grand-manner “history painter” making art that would hold its own, regardless of the changing times.

Grosz came to New York in 1933 and began to teach at the Art Students League just as Hitler was

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