In 1920, with Heartfield and Otto Dix, he took part in the Erste Internationale Dada-Messe. Grosz and Heartfield criticized the contemporary art world and the elevation of the artist to quasi-divine status. In a letter of opposition to the ‘Novembergruppe’, Grosz called on artists to ‘collaborate in the building of a new human community, the community of working people’.
Grosz made his contribution towards realizing this goal by engaging with contemporary events through his works. For him Dada was the expression of a specific political stance. He remained politically committed even when he left Dada and turned to a realistic style of painting in the 1920s, in keeping with the spirit of the decade.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image of Berlin and the Weimar Republic in the 1920s. Businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was very good although the works for which he is best known adopt a deliberately crude form of caricature.
After his emigration to the USA in 1933, Grosz "sharply rejected his previous work, and caricature in general.In place of his earlier corrosive vision of the city, he now painted conventional nudes and many landscape water-colours.
Images
http://www.moma.org/collection/artist.php?artist_id=2374
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