Word: grosz
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Dates: during 1940-1949
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...George Grosz, who became Europe's bitterest satirical artist, then fled to the New World, found his art in a German army insane asylum in 1917. Last week Grosz, in a readable autobiography (A Little Yes and a Big No; Dial, $7.50), showed that he could write almost as disgustedly as he could draw...
...innkeeper's son, raised in the small town of Stolp, Pomerania, young Grosz spent more time over dime novels than art until he was 14. Then he managed to peek in on a playmate's pretty aunt as she was undressing. Says Grosz: "The image of the naked, Rubenesque woman pursued me and has continued to do so to this day." Grosz went on to art school, where he could peek as much as he liked...
When he presented his passport, General Grosz, Poland's director of press information, said: "Ah, yes, your paper is unfriendly to us." He produced a clipping and began reading aloud. But, protested Bigart, that was an editorial from the Washington Star. "Makes no difference," said Grosz, "I know you've said bad things about us." The Communist party blamed "excitable dispatches" of foreign correspondents for the strained relations between Poland and the U.S. "Meanwhile," wrote Bigart, "the Government-controlled press faithfully follows orders to 'furiously attack' American and British correspondents whose reports are objectionable...
...Schoenberner's book reads like the life story of a character invented by Ludwig Bemelmans. But its humor and gaiety paradoxically give place to sadness when Schoenberner describes his career with Germany's most humorous weekly. Simplicissimus had once numbered Thomas Mann among its staff and George Grosz among its cartoonists; it had published the maiden work of Heinrich Mann and Poet Rainer Maria Rilke, as well as stories by De Maupassant, Chekhov, Strindberg and Hamsun. Under the Kaiser, its Cartoonist-Editor Heine had been imprisoned in a fortress for the sin of reflecting too faithfully "the physiognomy...
...represent Iowa; John Steuart Curry's praying Negroes in a flood, which Curry called The Mississippi and the book labels Tennessee; John Falter's End of School (Pennsylvania); Dong Kingman's watercolor, Morning in New Orleans; Charles Burchfield's The Great Elm (New York). George Grosz's Tobacco Road looked as if he had seen the stage play, but not Georgia. A boy holding a lemon was labeled Boston; a picked chicken hanging on a door, Ohio. The attempt to label the paintings by states showed how hard it is to put too tight...