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THE MUSEUM OF MODERN ART, NEW YO PAINTINGS DRAWINGS PRINTS BY GEORGE GROSZ OCTOBER 7 TO NOVEMBER 2/1'/1 The retrospective exhibition of the work of George Grosz, now being shown in the Museum of Modern Art, dcmonetrutes the extraordinary versatility of this distinguished painter and caricaturiat. Now one of the moat brilliant American masters of wa tercolor, Grosz's work hus elicited high praise from our critics; some of his oils command attention throughout the country; hut it was his satirical drawings done in Germany during the 19208 which brought him world- wide fame. Born in Berlin in 1893, Grosz was educa ted in Dresden and Berlin art schools where he earned a living by drawing illustrations for Look jack eta and humorous magazines. Dissati."fied with the routine training of druwing from plaster casts, he searched ror other and newer inspiration. A visit to Paris in 1912 familiarized him with the work of Picasso and Chagall which proved to be a great impeuus to the young artist. But it was the large Italian F'uuuriat exhibition held in Berlin in 1913 which actually turned Grosz onto the path he was to follow. The direct influence of the Futurists is apparent in the early works included in the Museum's exhibition. Except for two furloughs, Grosz served in the trenches from 1914 to 1918, but he nevertheless managed to produce 80 man)' drawings that he found himself famous uI)()n his return to Berlin. For the next ten years, as Europe's most renowned carica- turist, be produced one volume of drawings after another. These caricatures comhine angry satire with ferocious ridicule. The discouragement and desperate poverty in Germany following the close of the first World \Var moved the artist to protest against both military leaders and war profiteers. He lashed at their arrogance, callousness and stupidity with all even fiercer hatred than that of Dean Swift whose implacable sa rire is at times close in spirit to tbut of Grosz.. Like Swift, too, 'he was fascinated by the most sordid and bestial qualities of mankind. "We were young mcn in Our formative years," says Grosz. "Perhaps unconsciously we became accusers, and fighters for a better humanity;" So inciting were hjs vitriolic attacks that Grosz was actually jailed for a brief period in 1923 on fabric'lted charges of indecency and sacrilege. Early in the rise of the Nazi movement Grosz turned his insulting attacks against this new out- rage. By 1932 Gros..: realized that he would have to leave Germany. On invitation of tbc Art Students League in New York, he Came to the United States to leach and has returned only once to Germany to bring his family here. This migration W:1S, in a way, a fulfillment of a youthful dream, for even twenty-five years before Grosz had developed a romantic interest in America. He followed the American movies, read our comic strips and wore American ready-made clothes .. 4.J. though he continued to depict the sordid and corrupt in some of his American work, he has nevertheless tried to rorget the bitterness of his lost battle in Germany. In recent years his work has been largely in oils and watercolors rather than in caricature, and his vitriolic assaults upon human baseness have become less and Jess apparent. His satirical skill, however; may be seen in the recent drawings which illustrate Ben Hecht's "lOOl New York Nights." The current exhibition comprises 54 oils, drawings, watercolors and theatre designs from the years 19]4 to .1940. This is one of the exhibitions which bas been assembled and sent on tour through the country by the Museum's Department of Circulating Exhibi. nons. This is its first showing in New York City. I MoMAExh_0150_MasterChecklist

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Page 1: MoMAExh 0150 MasterChecklist !# ! !#$...;174e1 j155 h

THE MUSEUM OF MODERN ART, NEW YO

PAINTINGSDRAWINGSPRINTS BY

GEORGE GROSZOCTOBER 7 TO NOVEMBER 2/1'/1

The retrospective exhibition of the work of GeorgeGrosz, now being shown in the Museum of ModernArt, dcmonetrutes the extraordinary versatility ofthis distinguished painter and caricaturiat. Now oneof the moat brilliant American masters of wa tercolor,Grosz's work hus elicited high praise from our critics;some of his oils command attention throughout thecountry; hut it was his satirical drawings done inGermany during the 19208 which brought him world-wide fame.Born in Berlin in 1893, Grosz was educa ted in

Dresden and Berlin art schools where he earned aliving by drawing illustrations for Look jack eta andhumorous magazines. Dissati."fied with the routinetraining of druwing from plaster casts, he searchedror other and newer inspiration. A visit to Paris in1912 familiarized him with the work of Picasso andChagall which proved to be a great impeuus to theyoung artist. But it was the large Italian F'uuuriatexhibition held in Berlin in 1913 which actuallyturned Grosz onto the path he was to follow. Thedirect influence of the Futurists is apparent in theearly works included in the Museum's exhibition.Except for two furloughs, Grosz served in the

trenches from 1914 to 1918, but he neverthelessmanaged to produce 80 man)' drawings that he foundhimself famous uI)()n his return to Berlin. For thenext ten years, as Europe's most renowned carica-turist, be produced one volume of drawings afteranother. These caricatures comhine angry satire withferocious ridicule. The discouragement and desperatepoverty in Germany following the close of the firstWorld \Var moved the artist to protest against bothmilitary leaders and war profiteers. He lashed attheir arrogance, callousness and stupidity with alleven fiercer hatred than that of Dean Swift whose

implacable sa rire is at times close in spirit to tbut ofGrosz .. Like Swift, too, 'he was fascinated by themost sordid and bestial qualities of mankind. "Wewere young mcn in Our formative years," saysGrosz. "Perhaps unconsciously we became accusers,and fighters for a better humanity;" So inciting werehjs vitriolic attacks that Grosz was actually jailedfor a brief period in 1923 on fabric'lted charges ofindecency and sacrilege.Early in the rise of the Nazi movement Grosz

turned his insulting attacks against this new out-rage. By 1932 Gros..: realized that he would have toleave Germany. On invitation of tbc Art StudentsLeague in New York, he Came to the United Statesto leach and has returned only once to Germany tobring his family here.This migration W:1S, in a way, a fulfillment of a

youthful dream, for even twenty-five years beforeGrosz had developed a romantic interest in America.He followed the American movies, read our comicstrips and wore American ready-made clothes .. 4.J.though he continued to depict the sordid and corruptin some of his American work, he has neverthelesstried to rorget the bitterness of his lost battle inGermany. In recent years his work has been largelyin oils and watercolors rather than in caricature, andhis vitriolic assaults upon human baseness havebecome less and Jess apparent. His satirical skill,however; may be seen in the recent drawings whichillustrate Ben Hecht's "lOOl New York Nights."The current exhibition comprises 54 oils, drawings,

watercolors and theatre designs from the years 19]4to .1940. This is one of the exhibitions which bas beenassembled and sent on tour through the country bythe Museum's Department of Circulating Exhibi.nons. This is its first showing in New York City.

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1914 PANDEMONIUM AT THE OUTBIlEAK40.~046 OF THE WAll

1920

~6.4/1,.STIlEET SCE"IE, BEIILIN-'-10k drawing (published in the portfolio"Ecce Homo," 1922)Lent by Associated American A rt.ists

'10.1111'1

1917

40.1,',--4 ,- " - '9

-H

1918

'1o.ro"

Ink drawingLent by Mr. and Mrs. Bernard J. Reis

WILD WESTLithographLent by Associated American Artists

!\IEMORIES OF NEW YORKLithograph j

Lent by Associated American ,4-rtists

1915 PRISONERS OF WARLithographLent by Associated American Artists,

j

STREET CORNEllOil on canvas .,j

Lent by Erich Cohn

v

THE ENGINEEIl HEAIITFIELDWatercolor and collaqe ./Lent by A. Conger Goodyear

1921 "METHUSAI.EM, THE ETEIIN,\I.J 40_ ~/'2.~ BOUIIGEOIS"/jo. 'f11f Four designs for dummies for tile play

'U. 't/1.6 Watercolor and inkJ 4., 4 J ... ., Lent by Associated American A rl ists

"HE"Ink drawing (published in the portfolio"Ecce Homo," 1922)Lent by Erich Coho

1922 "DIE RA:UBEB""KLEINE GROSZ MAPPE" ,"0.~099Four lithographs from the p~rtfolioThree lithographs from the portfolio j;. ~-1-o. SPublished by Malik- Verlag, Berlin, 1922Published by Malik-Verlag, Berlin, 1917 ",,"./ Lent by Mr. and Mrs. Bernard J. ReisLent by J. B. Neumann ."

CARD PLAYERS IOil on canvasLent by Dr. Victor Steiner

BIC CITYOil on canvas rI

Lent by Herman Shulman

A PIECE OF My WORLDWatercolor and inkLent by Associated American Artists

J

BERLINLithograph I

Lent by Associated American Artists

~1./5""~.1-,I~~

""" -

"DIE RA:uIlEn"A portfolio of nine lithographs tosentences from SchillerPublished by Malik-Verlag, Berlin, 1922Lent by Erich Cohn

"ANDROCLES AND THE LION"'ib.4/of! Costume design for the play

Watercolor ana ink "Lent by Associated American Artists

~1.15""I" "ECCE HOMO"I-/~ . .

ff" A portfolio of one hundred lithographsI 11(A<.t- /<hJand watercolors

JL< .Published by Malik-Verlag, 1922Len t by Erich Cohn

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Ifo.Ifon Two OLD MEN ./Ink drawingLent by Mr. and Mrs. Bernard J. Rei.

1924 CASSIS

«o. IfIOIf WatercolorEllnd j nk .DVJIIlI Hew ftr

Len t by AA",,"soalr,;aslotred,I =,''00'1>' =';""»=:11,,':1:1i:!oist:s...

1926 POIlTRAIT OF JOHN FOIlSTE

s». Ifog,q-Oil on canvas VLent by Erich Cohn

• POIlTIlAIT STUDYf, c.. Pencil drawing4·2.1 Collection the Museum of Modern Art

Gift of Paul J. Sachs

1928 ·TEN POUNDS Too MUCH

'II. ''''2.Watercolor and inkLent by Erich Cohn

~/.'''II THIHD CLASS FUNEIlAL 0?,~,)Watercolor and ink VLent by Associated American Artists

40.41'" NOCTUIlNEWatercolor ,/Lent by Associated American Artists

1930

If•. ifill{

THE FAT RELATIVE •..

Watercolor and ink ILent by Associated American Artists

. APfEH THE BATH,".r ...,..Ink drawingLent by Associated American Artists

,.1932 THE BUTCHEIl SUOI'

'f0. '11,q Watercolor vLent by Associated American Artists

1933' NUNS

t: ,.If,. li"1 WatercolorLent by Erich Cohn

1934 IN THE SUBWAYl/o.5""~ Watercolor. Y

Lent by Erich Cohn

AI'TEIl THE THEA TilE

WatercolorLent by Herman Shulman

Lf~.'III ~ TIlE TIHED BOOTBLACK ,/WatercolorLent by Associated American Artists

1f•. If", LOWEll Mo\NHATTANWatercolorLent by Associated American Ar-tists

.1935 MOIlIIO CASTLE

41.1~(~ WatercolorLent by Associated American Artists

1936 NEW YOIlK HAIlBOIl

'10. If" r WatercolorLent by Associated American Artists

'10.'1,'2., CENTIlAL PARK /V\T atercolorLent by Associated American Artists

1'0.~/21 THE WANDERERWatercolor j

Lent by Associated American Artists

'10. I{IO, STREET FIGHT IOil on canvas

Lent by Associated American Artists

'f1.I'S!,THE RIDER IS LOOSE AGAINInk drawingLent by Erich Cohn

1937 A PIECE OF My WORLD, Oil THEu t, 'I" 0 LAST BATTALION

Ink drawingLent by Associated American Artists

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r,

, THE THIN AND THE FAT

~I.ISH Ink and watercolorLen t by Erich Cohn

STANDING NUDE

Oil OD canvasLen t by Harold Goldsmitb

I

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I

• THE TRAMP

'fl. 41CJ(> Oil on canvasLent by Associated American Artists

'to.~3~qSTILL LIFE WITH WALNUTS <Oil on canvasLent by the Metropolitan Museum of Art

1938 A PIECE OF My WOIILD, 011 THE

~I. 413 'l.. LAST BATTALION ,/Oil on canvasLent. by Associated American Artists

PORTRAIT OF ERICH COHN

Oil all canvasLent by Erich Cohn

1939 DUNES AT TnURO

q,.,!Jii,Watercolor /Lent by Herman Shnlman

\

'fl. 4/01CA"E COD, 6Chalk and watercolorLent by Associated American Arli3l.'i

CAPE COD, 12~D. ~'fZ. ..

7 Watercolor Y

Lent by the Art Institute of ChicagoWatson F. Blair Purchase Prize

1940' NUDE

/fl. (56' Chalk drawing on tinted paperLent by Erich Cohn

41.16 'l.. q NUDEOil on canvasLent by Associat.ed American Artists

'f1.15 e :iA LITTLE CHILD SHALL LEAl) Tm:~

Oi I on can vas

Lent by the artist

41.15~" SELF POll'rHAIT

Oil on canvasLent by the artist.

DEPAItTMENT OF cmCULATING EXUlUIT!

THE MUS:EUM OF MODERN ,\11 WEST 53 STHEET, NEW YORK. N

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