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Grosz's art influenced other New Objectivity artists such as Heinrich Maria Davringhausen, Anton Räderscheidt, and Georg Scholz. [46] In the United States, the artists influenced by his work included the social realists Ben Shahn and William Gropper. [47] In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum.
The Wanderer diverges from the art style of satirical cartoon drawings to embrace a more realistic and self-reflective approach. The shift is highlighted by two quotes depicted in the autobiography, A Little Yes and a Big No, and the book, George Grosz. [8] [9]
Seeking to capture this change, Grosz portrays Berlin in the midst of World War I in his Expressionist style with a predominance of red in a very chaotic scene. In the construction of the scene, he uses the techniques of cubism and futurism , with an exaggerated perspective and superposition of figures, that convey the feverish rhythm of city life.
George Grosz and Otto Dix are considered the most important of the verists. [8] The verists developed Dada's abandonment of any pictorial rules or artistic language into a “satirical hyperrealism”, as termed by Raoul Hausmann, and of which the best known examples are the graphical works and photo-montages of John Heartfield.
Media in category "Paintings by George Grosz" The following 3 files are in this category, out of 3 total. Der Liebeskranke.jpg 1,278 × 1,660; 393 KB.
The work is a self-portrait of the artist, designated as "Count Ehrenfried" (Grosz's middle name), who appears dressed in a dandy costume, while seated at the literary café Großenwahn (free translation: Delusion of Grandeur), in Berlin, who was one of the meeting points of the Expressionist artists in the German capital.
The Poet Max Hermann-Neisse is an oil-on-canvas painting executed in 1927 by German artist George Grosz. It depicts his personal friend, the writer and cabaret critic Max Herrmann-Neisse. The portrait is exemplary of the New Objectivity artistic approach. It is held at the Museum of Modern Art, in New York. [1]
Daum Marries Her Pedantic Automaton "George" in May 1920. John Heartfield is very glad of it. is a painting created by using the combination of pencil, pen, brush and ink, watercolor and collage, by the German artist George Grosz, in 1920. The painting does have an original English title.
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