George Grosz German Futurist Signed Linocut 4/30
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Description
Linocut on paper. Featuring a a portrait of a couple. Signed GROSZ and inscribed 4/30 on the lower right and lower left corner, respectively. Attributed to George Grosz (1893-1959, German). 24.5 x 19 cm (9.7 x 7.5 inches)
George Grosz (1893-1959) was a German artist and member of the New Objectivity movement. The artist’s paintings, drawings, and prints critiqued the politics and society of his day with incisive humor. “I was arrogant enough to call myself a natural scientist, not a painter, nor, heaven forbid, a satirist,” he once reflected. “But in reality I myself was everybody I drew, the rich man favored by fate, stuffing himself and guzzling champagne, as much as the one who stood outside in the pouring rain holding out his hand.” His best-known artworks were depictions of the dark side of German metropolitan life at the time. Born Georg Ehrenfried Groß on July 26, 1893 in Berlin, Germany, Grosz studied at the Dresden Academy of Art where he honed his drawing skills. Moving back to Berlin in 1911, the artist changed his name in protest of the rampant German nationalism he perceived around him. Alongside his peers Otto Dix and Max Beckmann, Grosz began commenting on injustices and grotesque aspects of Berlin with works such as Explosion (1917) and The Pillars of Society (1926). Emigrating to the United States in 1933, he barely escaped Germany before Hitler became Chancellor. Seeing the devastation of both World War I and II disheartened the artist, and his work shifted towards a softer style through the following decades. He died shortly after returning to Berlin, Germany on July 6, 1959 at the age of 65. Today, his works are held in the collections of the National Gallery of Art in Washington, D.C., the Tate Gallery in London, The Museum of Modern Art in New York, and the Thyssen-Bornemisza Museum in Madrid, among others.
George Grosz (1893-1959) was a German artist and member of the New Objectivity movement. The artist’s paintings, drawings, and prints critiqued the politics and society of his day with incisive humor. “I was arrogant enough to call myself a natural scientist, not a painter, nor, heaven forbid, a satirist,” he once reflected. “But in reality I myself was everybody I drew, the rich man favored by fate, stuffing himself and guzzling champagne, as much as the one who stood outside in the pouring rain holding out his hand.” His best-known artworks were depictions of the dark side of German metropolitan life at the time. Born Georg Ehrenfried Groß on July 26, 1893 in Berlin, Germany, Grosz studied at the Dresden Academy of Art where he honed his drawing skills. Moving back to Berlin in 1911, the artist changed his name in protest of the rampant German nationalism he perceived around him. Alongside his peers Otto Dix and Max Beckmann, Grosz began commenting on injustices and grotesque aspects of Berlin with works such as Explosion (1917) and The Pillars of Society (1926). Emigrating to the United States in 1933, he barely escaped Germany before Hitler became Chancellor. Seeing the devastation of both World War I and II disheartened the artist, and his work shifted towards a softer style through the following decades. He died shortly after returning to Berlin, Germany on July 6, 1959 at the age of 65. Today, his works are held in the collections of the National Gallery of Art in Washington, D.C., the Tate Gallery in London, The Museum of Modern Art in New York, and the Thyssen-Bornemisza Museum in Madrid, among others.
Condition
All lots that do not carry established documented provenance nor any past record of auction history record are described in the catalog as attributed .
All authorship of items in this catalog are described according to the following terms:
Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.
By [Artist Name] : The work is by the artist.
Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century : This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
All authorship of items in this catalog are described according to the following terms:
Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.
By [Artist Name] : The work is by the artist.
Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century : This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
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George Grosz German Futurist Signed Linocut 4/30
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