Vida pública y privada http://es.slideshare.net/asensope/george-grosz-del-fragor-tumultuoso-al-silencio-atronador http://www.artepinturaygenios.com/2012/04/georges-grosz-y-el-movimiento-de-la.html http://www.taringa.net/posts/imagenes/18080913/George-Grosz-expresionismo-Aleman.html http://www.museothyssen.org/thyssen/ficha_artista/249 http://www.avizora.com/publicaciones/biografias/textos/textos_g/012_grosz_george.htm http://unartistatraslapista.blogspot.com.ar/2009/04/george-grosz.html http://consentidoscomunes.blogspot.com.ar/2015_05_01_archive.html http://www.liveinternet.ru/users/aleksyri/post299272007 http://lj.rossia.org/users/veniamin/235785.html http://www.paintingstar.com/item-pappi-und-mammi-s125492.html http://espina-roja.blogspot.com.ar/2012/09/a-oskar-panizza-del-pintor-comunista.html Café, 1915 El Lejano Oeste, 1916 Café. 1919 Sonido y humo, 1920 Café, 1920 Orgía, 1922 Hampones en la barra. 1922 El pequeño café, 1921-24 Última botella, 1924 Bar en París (Una bebida poco puede ayudar), 1924 La conversación. 1925 Marinero en la discoteca.1925. Por dentro y por fuera. 1926 Sociedad ilustre. 1927 Chez Emile Hasenbohler. 1927 Conversación política. El café. 1928 Restaurant 1928 Carnaval en Berlin. 1930 Domingo por la tarde. 1930

Her œuvre, with all its fierce fault lines, is a significant reflection of political and aesthetic upheavals of the last century. This retrospective presents 170 works covering 60 years.

Olevano II, 1925

Street Scene, dated February 1925, is a good example of Grosz’s new objective painting and of his permanent rebellion against the unjust social order and the hypocrisy and vulgarity of the urban middle class. This depiction of the centrally-located Kurfürstendamm in Berlin, in which the glamour of the wealthy classes contrasts with the poverty of the homeless, immigrants and numerous war cripples, recalls the description given by Alfred Döblin in Berlin Alexanderplatz (1929), which tells the story of Franz Biberkopf, an ordinary citizen who tries to make his way in a society dominated by unemployment, violence and unfulfilled promises; and also that of the plays of Bertolt Brecht, with their lurid images of modern life, of the “dull lives” of those who attempt to wade through the “jungle of cities.” [Museo Thyssen-Bornemisza, Madrid - Oil on canvas, 81.3 x 61.3 cm]

A new exhibition that showcases the art and culture of Berlin in the early part of the 20th Century is set to open on October 1 in New York. "Berlin Metropolis:1918-1933" at the Neue Galerie New York, a museum devoted to early twentieth-century German and Austrian art and design in New York, will explore the “complex and tumultuous” time in Berlin during the Weimar period, to reflect the dramatic changes that occurred, through painting, drawing, sculpture, collage, photography, architecture, film, and fashion.

Art, music, cinema, cats

What year was it that I was in Berlin that first time? It was before I was traveling with Jen, before my cousin Della had moved there but after the wall had come down — just after. It was well before the eastern part had been razed and replaced with posh, slick newness I guess that’d make it somewhere around 1990. I would’ve been 32. Jesus, was I ever so young?! This first visit came just after my Viennese art immersion and sodden stay in Krakow. While exploring, walking off my astoundingly huge hangover, I happened on a brill retrospective of George Grosz’s paintings. My beloved college painting prof, George Innes, felt my scribbles were moving in a similar direction and wanted me to have a look. Being a callow, unenlightened, doofus-y kid, I'd never heard of the dude. Mr. Innes had studied with Grosz at the Art Students League of New York in the early 1930s and thought the radical German was hot stuff — worth checking out. Alrighty then. If Innes says go look, I go take a solid gander. I was intrigued but not altogether pulled into Grosz's hard, harsh, cruel scenes of the people and streets of the Weimar Republic. The lush, sensuous, seemingly less grim Austrians were more up my alley — Klimt, Kokoschka and Schiele. Seeing their work had been the impetus for my 1990 journey. That Berlin exhibition changed everything. Seeing his paintings and drawings live, up close, in the flesh sparked a realization — a stone knowledge. This, this man's work, was pole-zero. Grosz's portraits of people and places aren’t conventionally pretty, they don’t soothe and comfort, his drawings aren’t gonna wonderfully complement the taupe highlights of your sofa — that’s not the idea. My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. . . . I drew a man, face filled with fright, washing blood from his hands. . . . I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket. . . I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry.” His paintings and drawings are visual poetry. They tell the hard, luminous, intense stories of life. There's a bitter humor to them as well. Gregory Corso, Ginsberg and Bukowski come to mind at the moment. Bleak, bitter beauty. Why does this memory perc to the surface this morning? In my on-line word game this morning, I had the tiles to spell the artist’s last name and, waddya know, Grosz is a word, not just a name: grosz /ɡrɔːʃ/ noun (pl) groszy (ˈɡrɔːʃɪ) a Polish monetary unit worth one hundredth of a złoty AND worth 32 points. It's gonna be an odd day — I can feel it.

The mystery train of Babylon Berlin. Photo: © Sky 1 In the dead of night in 1929, a Steam Locomotive roars down the tracks to Berlin from somewhere in Russi ...

1930 Herbert von Reyl-Hanisch (Austrian artist, 1898-1937) Portrait of the Mother Felice Casorati (1883 –1963) Daphne a Pavarolo 1934 1930 Cagnaccio di San Pietro, Portrait of Signora Vighi 1930 Josef Scharl (German painter, 1896-1954) Street Scene in Paris 1930 Manfred Hirzel (German artist, 1905-1932) Melitta Karl Hubbuch (German artist, 1891–1979) Theater Loge c 1930 1931 Antonio Donghi (Italian Painter, 1897-1963) Portrait of a Woman in Hat 1931 Otto Dix (German Expressionist painter, 1891-1969) Woman with Red Hair 1932 Amedeo Bocchi (Italian artist, 1883–1932) 1932 Conrad Felixmüller, Bildnis Frau Sofie Isakowitz 1932 Conrad Felixmüller (German Expressionist painter, 1897-1977) A Russian Imigrant from Baku (Frau Ginda Krettingen) 1932 Max Beckmann (German Expressionist Painter, 1884-1950) Quappi in Pink 1933 Karl Hubbuch (German artist, 1891–1979) Afternoon Tea 1935 Antonio Berni (Argentine artist, 1905-1981) Woman in Red Sweater 1935 Doris Clare Zinkeisen (British artist, 1898-1991) Self-Portrait 1935 Marcello Dudovich (Italian artist, 1878-1962] Ritratto di signora 1935 Werner Schramm (German artist, 1898-1970) Portrait of a Lady on the Pont des Arts 1937 Rita Angus, Self-portrait 1938 Diego Rivera, Portrait of Lupe Marín 1939 Paul Citroen (German-born Dutch artist, 1896-1983) Portray of Corry Mohlenfeldt

My Daily Art Display today is a painting by the German painter George Grosz. He was born in Berlin in 1893. His father died when he was eight years of age and his mother moved to the Pomeranian to…

Exhibition dates: 4th October 2015 – 18th January 2016 Otto Dix (German, 1891-1969) Card Players (Kartenspieler) 1920 Drypoint 19 7/8 × 13 1/16 in. (50.5 × 32.5cm) Los Angeles C…

Vida pública y privada http://es.slideshare.net/asensope/george-grosz-del-fragor-tumultuoso-al-silencio-atronador http://www.artepinturaygenios.com/2012/04/georges-grosz-y-el-movimiento-de-la.html http://www.taringa.net/posts/imagenes/18080913/George-Grosz-expresionismo-Aleman.html http://www.museothyssen.org/thyssen/ficha_artista/249 http://www.avizora.com/publicaciones/biografias/textos/textos_g/012_grosz_george.htm http://unartistatraslapista.blogspot.com.ar/2009/04/george-grosz.html http://consentidoscomunes.blogspot.com.ar/2015_05_01_archive.html http://www.liveinternet.ru/users/aleksyri/post299272007 http://lj.rossia.org/users/veniamin/235785.html http://www.paintingstar.com/item-pappi-und-mammi-s125492.html http://espina-roja.blogspot.com.ar/2012/09/a-oskar-panizza-del-pintor-comunista.html Café, 1915 El Lejano Oeste, 1916 Café. 1919 Sonido y humo, 1920 Café, 1920 Orgía, 1922 Hampones en la barra. 1922 El pequeño café, 1921-24 Última botella, 1924 Bar en París (Una bebida poco puede ayudar), 1924 La conversación. 1925 Marinero en la discoteca.1925. Por dentro y por fuera. 1926 Sociedad ilustre. 1927 Chez Emile Hasenbohler. 1927 Conversación política. El café. 1928 Restaurant 1928 Carnaval en Berlin. 1930 Domingo por la tarde. 1930

Georg SCHOLZ - Café (Hakenkreuzritter) 1921 L'Allemagne du premier tiers du XXe siècle montre un passionnant exemple de l'engagement des artistes dans le champ politique, en l'occurrence en relation avec le mouvement socialiste qui s'oppose à la guerre....

Exhibition dates: 11th May – 5th September 2022 Ludwig Meidner (German, 1884-1966) Selfportrait (installation view) 1913 Oil on canvas Hessisches Landesmuseum Darmstadt Photo: A…

. Scholz nació en Wolfenbüttel y se formó en la Academia de Karlsruhe, donde sus maestros fueron Hans Thoma y Wilhelm Trübner. Posteriormente estudió en Berlín bajo la dirección de Lovis Corinth. Después del servicio militar en la Primera Guerra Mundial que duró de 1915 a 1918, reasumió la pintura, trabajando en un estilo que funde ideas cubistas y futuristas. En 1919 Scholz se convirtió en miembro del Partido Comunista de Alemania, y su trabajo de los años siguientes años es muy crítico con el orden social y económico en la Alemania de la posguerra. Sus agricultores industriales de 1920 es una pintura al óleo con collage que representa a un agricultor que agarra la Biblia mientras el dinero brota de su frente, sentado junto a su esposa monstruosa que mece un cochinillo. Su hijo subhumano, con la cabeza abierta en la parte superior para demostrar que está vacía, está torturando una rana. Tal vez el trabajo más conocido de Scholz, es el típico de las pinturas que produjo a principios de la década de 1920, combinando una ejecución muy controlada y nítida con un sarcasmo corrosivo. Scholz rápidamente se convirtió en uno de los líderes de la Nueva Objetividad, un grupo de artistas que practicaban una forma cínica de realismo. Los más famosos de este grupo son Max Beckmann, George Grosz y Otto Dix, y el trabajo de Scholz compitió brevemente con el suyo por la ferocidad del ataque. En 1925, sin embargo, su enfoque se había ablandado y se acercó al neoclasicismo, como se ve en el autorretrato frente a una columna publicitaria de 1926 y el desnudo asentado con busto de yeso de 1927. Nombrado profesor en la Academia Estatal de Arte de Baden en Karlsruhe en 1925. Scholz comenzó a colaborar, en 1926, con la revista satírica Simplicissimus , y en 1928 visitó París donde apreció especialmente la obra de Bonnard. Con el ascenso al poder de Hitler y los nacionalsocialistas en 1933, Scholz fue rápidamente despedido de su posición docente. Declarado Artista Degenerado, sus obras fueron una de las que fueron confiscadas en 1937 como parte de una campaña de los nazis para "purificar" la cultura alemana y se le prohibió pintar en 1939. En 1945, las fuerzas de ocupación francesas nombraron a Scholz alcalde de Waldkirch, Pero murió ese mismo año, en Waldkirch.

As I read through John Willett’s collection of imagery – photos, posters, plays, book design – from the Weimar Republic, The Weimar Years, I began to realise that I was confused a…

Georg Schrimpf, Figures in a Landscape, c. 1925 Georg Schrimpf (1889-1938) was born in Munich. He was an autodidact, visiting an art schoo...

The observation of an object from very close sets in motion thoughts about how it is made, what are the parts that compose it, and what the mechanisms that move the parts. But draw an object in its…