George Grosz was one of the greatest satirical artists of the 20th century. A Dadaist and a revolutionary in Berlin in the 1920s, he depicted the vices and injustices of a deeply divided society. In this volume, Grosz’s drawings present a caustic, comic view of Germany in the troubled years of the Weimar Republic.
George Grosz: The Big NO features two of the most famous portfolios of his drawings: Ecce Homo, 1923 and Hintergrund, 1928. Ecce Homo shows Grosz at the height of his satirical powers. His razor-sharp line dissects life in Berlin with savage humour, capturing the decadence and corruption of a society living in the shadow of hyperinflation and social disorientation, divided between fascism and communism. The anti-militarist message of Hintergrund (published on the occasion of Erwin Piscator’s stage production of The Good Soldier Švejk) resulted in criminal charges against artist and publisher for ‘blasphemy and defamation of the German military’. After an epic trial that lasted four years, both men were acquitted.
George Grosz: The Big NO includes all the black and white drawings from both of these ground-breaking portfolios, along with a chronology of important events in Germany during Grosz’s lifetime. An illuminating essay by filmmaker and curator Lutz Becker situates Grosz’s life and work in the social and political context of his time.
Foreword by Roger Malbert
Essay by Lutz Becker
1.6 x 15.9 x 21.6cm
Designed by Richard Hollis