Word: grosz
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Dates: during 1980-1989
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...There, in contrast to the French tradition of measure, delectation and ordered feeling, of art "above" politics, was a cold, laconic, even squalid-looking art that wanted to contribute its voice to the tormented political theater of the Weimar Republic. It was antiexpressionist too; painters like Otto Dix, George Grosz or Christian Schad, having survived the 1914 war, and being immersed in the suffering, inflation and political instability of their defeated country, had no time for the cloudy redemptive ecstasies of German expressionism: its inwardness was, so to speak, an insult to the collective. "My aim is to be understood...