Word: grosz
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Dates: during 1980-1989
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...succession of scandals; Kokoschka was one. Almost from the moment he left art school he assumed center stage in the Viennese avant-garde, enacting its fixations on love and death, abandonment and deviancy. Painting apart, he worked hard to earn his nickname "der Tolle" (the crazy man). George Grosz remembered him at a ball in Berlin, gnawing on the fresh and bloody bone of an ox. He sometimes hid among the waxworks of criminals in the chamber of horrors of the Berlin Panoptikum, and sprang out with a howl to frighten the visitors. These early "happenings" (artist as cannibal, artist...
...tiny minority of Germans, as mad, bad and dangerous to know: frantic orphans of the fatherland, nut eaters, Nietzscheans, stargazers, communards, Spartacists, reciting overloud yeas to nature and nays to society. Among them are Ernst Ludwig Kirchner and Franz Marc, Emil Nolde and Karl Schmidt-Rottluff, George Grosz and Otto...
...strong on artists who belonged to neither, such as Wilhelm Lehmbruck, whose war-induced suicide in 1919 at the age of 38 truncated what might have been one of the great sculptural oeuvres of the 20th century. The best coup is to have reunited the two completed parts of Grosz's blistering anti-establishment triptych of 1926, Eclipse of the Sun and Pillars of Society. The latter, with its beer-hall vision of the coming new order--a servile journalist wearing a chamber pot, a flabby blimp of a politician with a steaming headful of excrement, and a militarist with...
...despair and not wish for death?" At that moment his eyes lock with those of a German tourist, a teen-age girl who transfixes him with a pleading, desperate look. Lightning strikes. The girl, Beate, is accompanied by a husband as wickedly repellent as a German sketched by George Grosz. Beate later tells Lucio: "My husband horrifies me; his hands are stained with blood...
...work and adopted its strategies wholesale. The "illusionist" painters among them, Dali, Ernst, Tanguy and Magritte, all came out of early De Chirico, a lineage astutely discussed by Laura Rosenstock in the catalogue; and as another contributor, Wieland Schmied, points out, German painters in the '20s like George Grosz used Chirican motifs to express their vision of an estranged urban world in social dislocation...