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Order Artwork Replica The Burial, 1918 by George Grosz (Inspired By) (1893-1959, Germany) | ArtsDot.com

The Burial



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George Grosz's The Burial is a seminal work of the Futurism movement, capturing the essence of urban life in 1918. This painting, measuring 110 x 140 cm and executed in oil on canvas, is a testament to Grosz's unique blend of social commentary and artistic innovation.

Contextualizing The Burial

Grosz was a prominent figure in the Berlin Dada and New Objectivity groups during the Weimar Republic. His work often critiqued the societal norms and political climate of his time. The Burial reflects Grosz's fascination with the urban landscape, particularly the nocturnal scenes that reveal the city's true character.

Composition and Symbolism

The painting depicts a crowded city street at night, illuminated by windows and streetlights. The scene is bustling with activity, featuring at least 13 people, some standing while others walk or carry handbags. A car, motorcycle, and scattered umbrellas add to the dynamic atmosphere. Two clocks are visible, one on the left and another on the right, symbolizing the relentless passage of time in urban life. The composition is dense with detail, making it an intriguing piece that captures the essence of city living at night. Grosz's use of Futurist techniques emphasizes movement and energy, drawing the viewer into the vibrant scene.

Artistic Movement

The Burial exemplifies the principles of Cubo Expressionism, a style that combines the emotional intensity of German Expressionism with the radical visual vocabularies of European avant-garde movements like Futurism and Synthetic Cubism. This unique blend is evident in Grosz's work, which often featured distorted forms and exaggerated expressions to convey social commentary.

Relevance and Legacy

Grosz's contribution to modern art is significant, particularly in the context of the Weimar Republic. His work influenced subsequent generations of artists, including those associated with the Bauhaus movement. The Burial remains a powerful example of Grosz's ability to capture the spirit of urban life during a pivotal moment in history.

Conclusion

The Burial by George Grosz is a masterpiece of Futurist art, offering a glimpse into the vibrant and often chaotic world of early 20th-century urban life. As a work that blends social commentary with artistic innovation, it continues to captivate audiences today. For those interested in exploring more works from this period, Giacomo Balla's Fiore futurista and Oleksandr Bogomazov's Cityscape. Kiev. are notable examples of Futurist art. To learn more about George Grosz and his contributions to modern art, visit George Grosz on ArtsDot.com.
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George Grosz

Early Life and Influences

George Grosz, a prominent figure in the Berlin Dada and New Objectivity group during the Weimar Republic, was born on July 26, 1893, in Berlin, Germany. As Georg Ehrenfried Gross, he grew up in a devoutly Lutheran family, with his father being a pub owner. Grosz's early life was marked by his mother becoming the keeper of the local Hussars Officers' mess after his father's death in 1901.

Artistic Development

Grosz began his artistic journey under the tutelage of a local painter named Grot, further developing his skills through meticulous copies of Eduard von Grützner's drinking scenes and imaginary battle scenes. He then studied at the Dresden Academy of Fine Arts (1909-1911) and later at the Berlin College of Arts and Crafts.

Notable Works and Style

  • The Pit, a painting showcasing Grosz's Dadaism style, is a notable example of his work. This piece, along with others like The Agitator and The Pillars of Society, demonstrate his satirical critique of the German bourgeois community.
  • These works are characterized by their caricatural nature, often featuring morbid and gruesome imagery that symbolized fascist forces in Germany.

Museum Collections and Exhibitions

Grosz's work can be found in various museums, including the Kunstsammlungen Und Museen Augsburg and the Kunsthalle Bielefeld, both of which are renowned for their extensive collections of German art.

Later Life and Legacy

Grosz emigrated to the United States in 1933, becoming a naturalized citizen in 1938. He taught at the Art Students League of New York and continued to exhibit his work until his return to Berlin, where he passed away on July 6, 1959. Key Points: * Grosz was a prominent member of the Berlin Dada and New Objectivity group. * His work is characterized by satirical critiques of the German bourgeois community. * He emigrated to the United States in 1933 and became a naturalized citizen in 1938. * Grosz's legacy continues to be celebrated through his works, which can be found in various museums across Germany.

References:

List of German Americans (Wikipedia)

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