George Grosz (/ ɡroʊs /; German: [ɡʁoːs] ⓘ; born Georg Ehrenfried Groß; July 26, 1893 – July 6, 1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity groups during the Weimar Republic.

Grosz emphasized the cold, impersonal quality of the automaton with his use of collage. The anonymous - but oddly constructed background furthers the sense of alienation, a common theme in modernist art of the early-20 th century - but here that lack of emotion is not necessarily a negative quality.

2020年8月28日 · Grosz has replaced the face of a fashion model in a corset with that of a chimpanzee wearing what looks like a wig. Deploying a semiotic approach, we can note how the cuts and blank spaces present the assembled images as signs for absent referents, setting in play the production of meaning through difference. Beauty and the beast collide.

The collage shows a woman in pale watercolours. She is dressed in underwear and a floppy grey hat. One breast and her genitals are exposed. She is looking over her shoulder at a smaller figure on the right of the picture, a montage of body and machine parts with a whitish grey head resembling a mask.

Collage forms a common thread that runs through George Grosz's artistic oeuvre, from his early commentaries on life in the metropolis of Berlin to his later works created in the USA. Around 100 works from the Akademie der Künste art collection and archive, from the George Grosz Estate and from public and private collections are on display.

The current special exhibition focuses on previously lesser-known collages by George Grosz and spans a wide range – from Dada to Pop Art. The early photomontages with graphic elements are evidence of the artist’s artistic and political cooperation with John Heartfield and Wieland Herzfelde’s Malik publishing house.

As member of Berlin Dada from 1918 to 1920, created mordantly satirical collages. In 1920s style became more naturalistic in caustic, caricatured studies of corrupt officers, war profiteers, exploitative industrialists, and prostitutes.

An examination of Grosz's participation in the reception of practices such as collage and photomontage is coupled here with reflection on the relationship between montage and processes of ...

Nolan Judin is pleased to present the first major George Grosz exhibition dedicated exclusively to his years in Exile. Over 100 works on view – paintings, watercolors, drawings – and many documents allow for a reassessment of this pivotal figure of 20th Century art.