Word: grosz
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Dates: during 1930-1939
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...instrument of class struggle, and many Lovers of Labor subjects have appeared. One of these is able Sculptor Max Kalish, represented in the Baltimore show by The Spirit of American Labor (see cut) and seven other pieces. Contrasting such idealization with satirical but penetrating prints such as George Grosz's Workingman's Sunday (see cut) or Peggy Bacon's Help! (see cut), Baltimoreans last week put their teeth in the question of honest eyesight, which has become an international issue of modern...
...critic the most brilliant of German moderns, was killed at Verdun in 1916, not before he had turned out vivid abstractions that run counter to Hitler's esthetic creed. But the casualties of war and poverty were dwarfed by the exiles represented: Abstractionist Paul Klee, Satirist George Grosz, Lyonel Feininger, who became a champion bicycle racer before he became one of the leading German cubists. For the London show, Austrian-born Oskar Kokoschka sent a wry Self-Portrait of a Degenerate Artist. A second canvas arrived in four pieces, hacked by Vienna police when Nazis seized Austria. Symbolizing...
...last year's show, New York carried off most of the honors, this time with a soft-textured nude by George Grosz, a characteristic frozen-faced, deep green Landscape with Fisherman by Doris Lee, Isaac Soyer's indulgent School Girls and Robert Philipp's Dust to Dust, which won honorable mention at the Carnegie International last autumn (TIME, Oct. 25), showing bowed, blackrobed, firmly painted figures before an open grave, against a dull rainscape. There was no outstanding piece of sculpture like Carl Hallsthammar's Venus in Red Cherry of last year, but the exhibition introduced...
...among his 20 tempera paintings and score of gouaches (opaque water colors) there were several which allowed spectators not only to see poverty but to see into it. Several others showed a spirit and skill at caricature which located Jules below but in line with Rivera, Orozco, Grosz and other effective satirists of social horrors...
...hall devoted to "Insults to the Honor of German War Heroes" were several etchings by Draughtsman Otto Dix, who ranks with Grosz for his skilled and brutal memories of trench fighting (TIME, Aug. 6, 1934). Another section oddly entitled "The Mocking of Christianity" displayed Emil Nolde's Christ and the Thieves which the National Gallery in Berlin bought for $10,000 in 1930. There were also "A Peasant Scene from a Jewish Point of View," "The Manifestation of the Soul of the Jewish Race" and a group called "The Derision of the German Women." But the greater part...