Word: grosz
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Dates: during 1950-1959
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...title of the exhibit is "War and Aftermath: German Art in Relation to the First World War." Cooperating museums and individuals have contributed more than 50 items. Among the artists represented are Grosz, Dix, Beckmann, Rohlfs, and Klee...
...aesthetic criterion, however, is challenged most graphically by George Grosz. Sharp, biting, vitriolic, his satires often, as in "I Am The Boss," amount to a vulgar denial of aesthetics. Grosz succeeds in his attempt to revolt and disgust. His portrayals of lasciviousnes, corruption and wretchedness hit home with intended impact for they are executed in line and wash that are as sickly and depressing as their subjects...
...schism between poetry and Strum and Drang lies in intensity of emotion or dramatic nature of the subject. Actually Goya's "Disasters of War," certainly more graphic than anything here, or Picasso's "Guernica," more symbolic and abstract than anything here, answer an emphatic no. For if Barlach, Kollwitz, Grosz, et al, utter an emotional cry from the blackness of chaos and confusion, it is Picasso and Goya who offer, with emotion disciplined. "right" and "inevitable," an answer which cannot help being true...
...German painters denounced as "degenerate" by Hitler, there were only two choices if they were to continue as artists: get out of Germany or go underground. Painters Paul Klee, George Grosz, Josef Albers and Architect Walter Gropius managed to escape; one of the few who chose to remain and survived is Fritz Winter, today rated as Germany's leading abstract-expressionist. To celebrate Winter's 50th birthday, Munich's Günther Franke Gallery is staging a showing of 46 of his paintings, ranging from 1929 to the present. The Munich retrospective, and a current exhibition...
Back in Bavaria, Winter's brush exploded with fireworks of color, recalling in whiplash lines the wartime echoes of barbed wire, bombed buildings, prison life. But Winter was not merely evoking the kind of turgid nightmare images that Painter George Grosz (TIME, Nov. 21) used to purge himself of his tortured World War I memories. In his abstractions, Winter feels that he is groping toward a universal language increasingly understood everywhere...