- published: 10 Jan 2014
- views: 5451
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A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'interesting'?
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated major artists of the 20th century.
Published in 1923, 'Ecce Homo' was a suite of 100 prints depicting the sordid affairs of Berlin's middle-classes. The German authorities were so offended by the images that they prosecuted Grosz and many of the prints later perished in Nazi book burnings.
The original lithographs are now scarce. Most often seen are 1965-66 reprints. Ours are from the original 1922 printings (and look that much richer for it).
To view original prints by Grosz from the 'Ecce Homo' series click here » http://bit.ly/19BDz8w
Biography - George Grosz was born in Berlin and studied there and in Dresden before moving to Paris in 1913 to develop his artistic style. Grosz fought in WW1 but after being hospitalized was discharged in 1915. Grosz was later conscripted, but in 1917 the army decided to execute him after a failed suicide attempt; their decision was fortunately overturned with the help of his patron, Count Kessler.
Grosz's wartime experiences deeply affected his political outlook. He began to convey his hatred of German militarism in satirical images, though his subject matter was soon noticed by the authorities: Grosz was on one occasion prosecuted for indecent representations, which offend the sense of modesty and morality of a person of normal feeling. Inevitably, Grosz was hounded by the authorities and in 1933 he fled to America to settle permanently, returning to Berlin just once before his death there in 1959.
What is Goldmark?
A family business, we've been selling art from the Goldmark Gallery in Uppingham, UK for over 40 years and hold over 50,000 items in stock. Explore a wide range of the very best art and ceramics available to you through our website (http://www.goldmarkart.com) where you'll also find scholarship pages, books, online catalogues and even GoldmarkTV! Enjoy your visit here: http://bit.ly/18ZF7Lv
- published: 23 Aug 2013
- views: 4449
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre real era Georg Ehrenfried fue un pintor alemán
- published: 08 May 2010
- views: 4688
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural drawings of Berlin life in the 1920s.
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany but changed his name in 1916 out of a romantic enthusiasm for America that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life. (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.)
In 1914 Grosz volunteered for military service; like many other artists, he embraced the first world war as "the war to end all wars", but he was quickly disillusioned and was given a discharge after hospitalization in 1915. In January 1917 he was drafted for service, but in May he was discharged as permanently unfit.
Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works he is best known for adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as "Remember Uncle August the Happy Inventor" which has buttons sewn on it (see it here), and also includes erotica, such as these drawings in the World Museum of Erotic Art.
Bitterly anti-Nazi, Grosz left Germany in 1932 and was invited to teach at the Art Students League of New York in 1933, where he would teach intermittently until 1955. He became a naturalized citizen of the United States in 1938. Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.
He continued to exhibit regularly. He painted Cain, or Hitler in Hell (1944), showing the dead attacking Hitler in Hell, and in 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected to the American Academy of Arts and Letters in 1954. Even though he had American citizenship, he resolved to return to Berlin in 1959 where he died on July 6 of that year from the effects of falling down a flight of stairs after a night of drinking.
In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum.
[from Wikipedia]
- published: 07 May 2012
- views: 27776
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried Gross, propietario de una fonda, y su madre Marie Wilhelmine Luise.Cuando Gross tenía solo siete años su padre murió. Junto con su madre vivían altertativamente en Berlin y en Stolp en Pomerania, donde Georg started empezó la escuela secundaria en 1902. En 1908 fue expulsado de la escuela.
Despues de aprobar los examenes de entrada empezó sus estudios en la Royal Academy de Arte in Dresden. En la Academia se especializó arte gráfico y cooperó en revistas satíricfs a principios de 1910. En 1912 Grosz (entonces Gross) se matriculó en un curso de arte gráfico en la escula de Arte (Arts and Crafts) en Berlin. En 1913 pasó varios meses en Paris en el estudio de Colarossi. Los principales temas de sus dibujos en esta época eran crímenes y orgías y temas eróticos; sus viñetas fueron publicadas en "Ulk", "Lustige Blätter" y otros periódicos......
- published: 08 Jun 2009
- views: 1695
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Line of Fire -- George Grosz' Great Desire), Germany 2009 (Trailer: 8 min, Film: 63 min)
urban@fh-brandenburg.de
http://informatik.fh-brandenburg.de/~urban
The 50th anniversary of the death of George Grosz in the year 2009 is the motive to appreciate this distinguished and satirical artist of the 1920s in Germany cinematically.
George Grosz was born in Germany's capital Berlin in 1893. A dramatic experience for him is his military service in the years 1914 till 1917 during World War I. In 1916 he has his artistic coming-out, in 1918 he co-founds the Berlin Dada-group und joins the newly founded German communist party, the KPD. After the seizure of power by the Nazis in 1933, Grosz leaves Germany with his family just in time to emigrate to the USA. In 1938 he becomes an American citizen. While in Germany his works of art are being confiscated as being degenerate, Grosz tries to gain ground in the USA. Without any success though he returns to Berlin in 1959, where he soon after dies.
Besides his artistic oeuvre Grosz has left posterity a large amount of letters and other texts. Selected passages are being read voice-over in the film by German actor Axel Prahl. Today's German artists Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist and Volker Stelzmann also have their say and comment on Grosz's still noticeable influences in modern German Art.
Das Menschenschwein im Visier -- die Sehnsucht des George Grosz
Der 50. Todestag von George Grosz im Jahr 2009 ist Anlass, diesen bedeutenden Künstler und satirischen Zeichner der Weimarer Zeit filmisch zu würdigen.
George Grosz wird 1893 in Berlin geboren. Eine einschneidende Erfahrung ist der Kriegs¬dienst zwischen 1914 und 1917. 1916 erlebt er seinen künstlerischen Durchbruch, wird 1918 Mitglied der Berliner Dada-Gruppe und tritt in die Kommunistische Partei ein. Nach der Machtergreifung der Nazis übersiedelt Grosz 1933 in die USA und wird amerikanischer Staatsbürger. Während man in Deutschland seine Werke als entartet beschlagnahmt, versucht Grosz in den USA Fuß zu fassen. 1959 kehrt Grosz nach Berlin zurück, wo er wenig später stirbt.
Grosz hat der Nachwelt neben seinen künstlerischen Arbeiten eine Vielzahl von Texten und Briefen hinterlassen. Ausgewählte Passagen trägt der Schauspieler Axel Prahl aus dem Off vor. Zu Wort kommen darüber hinaus die heute aktiven Künstler Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist und Volker Stelzmann.
Cast/Stab:
Sprecher/Narrators: Axel Prahl (George Grosz), Kathrin Angerer, Carlo Degen, Alexander Kasprik, Julian Trostorf
Kamera/Camera: Thomas Willke
Montage: Dirk Schreier
Musik/Music: Italo Jorges und Guido Kramann
2D Animation/Compositing: Christian Rösike und Alexander Urban
3D Animation: Jan Bubenik, Christina Ziem, Christoph Skamierski
Setfotografie/Photography: Stephanie Neumann
Mischung/Sounddesign: Eberhard Hasche
Drehbuch/Script: Gabriele Mosbach und Alexander Urban
Wissenschaftliche Mitarbeit und Recherche/Research: Susanne Draheim
Regie/Director: Alexander Urban
Produktion/Production: Fachhochschule Brandenburg
Archive/Archives: George Grosz Estate, Akademie der Künste Berlin, Chronos Media Potsdam
- published: 25 Feb 2011
- views: 10271
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his savagely caricatural drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933.
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran. Grosz grew up in the Pomeranian town of Stolp, where his mother became the keeper of the local Hussar's Officers' mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot. Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard Grutzner, and by drawing imaginary battle scenes.[6] From 1909--1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Oskar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik.
In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avoid being sent to the front.[8] He was given a discharge after hospitalization for sinusitis in 1915. In 1916 he changed the spelling of his name to George Grosz as a protest against German nationalism[7] and out of a romantic enthusiasm for America[9] that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life.[10] (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.) In January 1917 he was drafted for service, but in May he was discharged as permanently unfit.
Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
Although Grosz made his first oil paintings in 1912 while still a student his earliest oils that can be identified today date from 1916. By 1914, Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings. Sharply outlined forms are often treated as if transparent. The City (1916--17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as Remember Uncle August the Unhappy Inventor which has buttons sewn on it, and also includes a number of erotic artworks.
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 watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: "A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past." Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.[
- published: 23 May 2012
- views: 564
George Grosz
George Grosz (July 26, 1893 – July 6, 1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before emigrating to the United States in 1933.
Life and career
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran. Grosz grew up in the Pomeranian town of Stolp (Słupsk), where his mother became the keeper of the local Hussars Officers' mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot. Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard von Grützner, and by drawing imaginary battle scenes. From 1909 to 1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Osmar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik.
This page contains text from Wikipedia, the Free Encyclopedia -
http://wn.com/George_Grosz
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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9:16George Grosz Enemy Of The State 1 10
George Grosz Enemy Of The State 1 10George Grosz Enemy Of The State 1 10
A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'interesting'? -
9:58George Grosz Enemy Of The State 2 10
George Grosz Enemy Of The State 2 10George Grosz Enemy Of The State 2 10
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9:29George Grosz Enemy Of The State 3 10
George Grosz Enemy Of The State 3 10George Grosz Enemy Of The State 3 10
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3:06"George Grosz's Ecce Homo" presented by Max Waterhouse
"George Grosz's Ecce Homo" presented by Max Waterhouse"George Grosz's Ecce Homo" presented by Max Waterhouse
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated major artists of the 20th century. Published in 1923, 'Ecce Homo' was a suite of 100 prints depicting the sordid affairs of Berlin's middle-classes. The German authorities were so offended by the images that they prosecuted Grosz and many of the prints later perished in Nazi book burnings. The original lithographs are now scarce. Most often seen are 1965-66 reprints. Ours are from the original 1922 printings (and look that much richer for it). To view original prints by Grosz from the 'Ecce Homo' series click here » http://bit.ly/19BDz8w Biography - George Grosz was born in Berlin and studied there and in Dresden before moving to Paris in 1913 to develop his artistic style. Grosz fought in WW1 but after being hospitalized was discharged in 1915. Grosz was later conscripted, but in 1917 the army decided to execute him after a failed suicide attempt; their decision was fortunately overturned with the help of his patron, Count Kessler. Grosz's wartime experiences deeply affected his political outlook. He began to convey his hatred of German militarism in satirical images, though his subject matter was soon noticed by the authorities: Grosz was on one occasion prosecuted for indecent representations, which offend the sense of modesty and morality of a person of normal feeling. Inevitably, Grosz was hounded by the authorities and in 1933 he fled to America to settle permanently, returning to Berlin just once before his death there in 1959. What is Goldmark? A family business, we've been selling art from the Goldmark Gallery in Uppingham, UK for over 40 years and hold over 50,000 items in stock. Explore a wide range of the very best art and ceramics available to you through our website (http://www.goldmarkart.com) where you'll also find scholarship pages, books, online catalogues and even GoldmarkTV! Enjoy your visit here: http://bit.ly/18ZF7Lv -
4:00GEORGE GROSZ
GEORGE GROSZGEORGE GROSZ
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre real era Georg Ehrenfried fue un pintor alemán -
3:07George Grosz
George GroszGeorge Grosz
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural drawings of Berlin life in the 1920s. George Grosz was born Georg Ehrenfried Groß in Berlin, Germany but changed his name in 1916 out of a romantic enthusiasm for America that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life. (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.) In 1914 Grosz volunteered for military service; like many other artists, he embraced the first world war as "the war to end all wars", but he was quickly disillusioned and was given a discharge after hospitalization in 1915. In January 1917 he was drafted for service, but in May he was discharged as permanently unfit. Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority. In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works he is best known for adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as "Remember Uncle August the Happy Inventor" which has buttons sewn on it (see it here), and also includes erotica, such as these drawings in the World Museum of Erotic Art. Bitterly anti-Nazi, Grosz left Germany in 1932 and was invited to teach at the Art Students League of New York in 1933, where he would teach intermittently until 1955. He became a naturalized citizen of the United States in 1938. Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline. He continued to exhibit regularly. He painted Cain, or Hitler in Hell (1944), showing the dead attacking Hitler in Hell, and in 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected to the American Academy of Arts and Letters in 1954. Even though he had American citizenship, he resolved to return to Berlin in 1959 where he died on July 6 of that year from the effects of falling down a flight of stairs after a night of drinking. In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum. [from Wikipedia] -
5:39George Grosz
George GroszGeorge Grosz
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried Gross, propietario de una fonda, y su madre Marie Wilhelmine Luise.Cuando Gross tenía solo siete años su padre murió. Junto con su madre vivían altertativamente en Berlin y en Stolp en Pomerania, donde Georg started empezó la escuela secundaria en 1902. En 1908 fue expulsado de la escuela. Despues de aprobar los examenes de entrada empezó sus estudios en la Royal Academy de Arte in Dresden. En la Academia se especializó arte gráfico y cooperó en revistas satíricfs a principios de 1910. En 1912 Grosz (entonces Gross) se matriculó en un curso de arte gráfico en la escula de Arte (Arts and Crafts) en Berlin. En 1913 pasó varios meses en Paris en el estudio de Colarossi. Los principales temas de sus dibujos en esta época eran crímenes y orgías y temas eróticos; sus viñetas fueron publicadas en "Ulk", "Lustige Blätter" y otros periódicos...... -
7:59Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George GroszTrailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Line of Fire -- George Grosz' Great Desire), Germany 2009 (Trailer: 8 min, Film: 63 min) urban@fh-brandenburg.de http://informatik.fh-brandenburg.de/~urban The 50th anniversary of the death of George Grosz in the year 2009 is the motive to appreciate this distinguished and satirical artist of the 1920s in Germany cinematically. George Grosz was born in Germany's capital Berlin in 1893. A dramatic experience for him is his military service in the years 1914 till 1917 during World War I. In 1916 he has his artistic coming-out, in 1918 he co-founds the Berlin Dada-group und joins the newly founded German communist party, the KPD. After the seizure of power by the Nazis in 1933, Grosz leaves Germany with his family just in time to emigrate to the USA. In 1938 he becomes an American citizen. While in Germany his works of art are being confiscated as being degenerate, Grosz tries to gain ground in the USA. Without any success though he returns to Berlin in 1959, where he soon after dies. Besides his artistic oeuvre Grosz has left posterity a large amount of letters and other texts. Selected passages are being read voice-over in the film by German actor Axel Prahl. Today's German artists Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist and Volker Stelzmann also have their say and comment on Grosz's still noticeable influences in modern German Art. Das Menschenschwein im Visier -- die Sehnsucht des George Grosz Der 50. Todestag von George Grosz im Jahr 2009 ist Anlass, diesen bedeutenden Künstler und satirischen Zeichner der Weimarer Zeit filmisch zu würdigen. George Grosz wird 1893 in Berlin geboren. Eine einschneidende Erfahrung ist der Kriegs¬dienst zwischen 1914 und 1917. 1916 erlebt er seinen künstlerischen Durchbruch, wird 1918 Mitglied der Berliner Dada-Gruppe und tritt in die Kommunistische Partei ein. Nach der Machtergreifung der Nazis übersiedelt Grosz 1933 in die USA und wird amerikanischer Staatsbürger. Während man in Deutschland seine Werke als entartet beschlagnahmt, versucht Grosz in den USA Fuß zu fassen. 1959 kehrt Grosz nach Berlin zurück, wo er wenig später stirbt. Grosz hat der Nachwelt neben seinen künstlerischen Arbeiten eine Vielzahl von Texten und Briefen hinterlassen. Ausgewählte Passagen trägt der Schauspieler Axel Prahl aus dem Off vor. Zu Wort kommen darüber hinaus die heute aktiven Künstler Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist und Volker Stelzmann. Cast/Stab: Sprecher/Narrators: Axel Prahl (George Grosz), Kathrin Angerer, Carlo Degen, Alexander Kasprik, Julian Trostorf Kamera/Camera: Thomas Willke Montage: Dirk Schreier Musik/Music: Italo Jorges und Guido Kramann 2D Animation/Compositing: Christian Rösike und Alexander Urban 3D Animation: Jan Bubenik, Christina Ziem, Christoph Skamierski Setfotografie/Photography: Stephanie Neumann Mischung/Sounddesign: Eberhard Hasche Drehbuch/Script: Gabriele Mosbach und Alexander Urban Wissenschaftliche Mitarbeit und Recherche/Research: Susanne Draheim Regie/Director: Alexander Urban Produktion/Production: Fachhochschule Brandenburg Archive/Archives: George Grosz Estate, Akademie der Künste Berlin, Chronos Media Potsdam -
5:19George Grosz's Metropolis
George Grosz's Metropolis -
6:09Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his savagely caricatural drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933. George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran. Grosz grew up in the Pomeranian town of Stolp, where his mother became the keeper of the local Hussar's Officers' mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot. Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard Grutzner, and by drawing imaginary battle scenes.[6] From 1909--1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Oskar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik. In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avoid being sent to the front.[8] He was given a discharge after hospitalization for sinusitis in 1915. In 1916 he changed the spelling of his name to George Grosz as a protest against German nationalism[7] and out of a romantic enthusiasm for America[9] that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life.[10] (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.) In January 1917 he was drafted for service, but in May he was discharged as permanently unfit. Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority. Although Grosz made his first oil paintings in 1912 while still a student his earliest oils that can be identified today date from 1916. By 1914, Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings. Sharply outlined forms are often treated as if transparent. The City (1916--17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession. In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as Remember Uncle August the Unhappy Inventor which has buttons sewn on it, and also includes a number of erotic artworks. 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 watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: "A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past." Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.[
'George Grosz' is featured as a movie character in the following productions:
Die Konterrevolution (2011)
Actors: Jürgen Tarrach (actor), Hans-Michael Rehberg (actor), Hannes Michael Schalle (composer), Bernd Fischerauer (actor), Bernd Fischerauer (writer), Bernd Fischerauer (director), Hans Schuler (actor), Michael Roll (actor), Marion Mitterhammer (actress), Katrin Pollitt (actress), Christian Hoening (actor), Thomas Oláh (costume designer), Holger Handtke (actor), Bibiana Beglau (actress), Klaus Gietinger (writer),
Plot: Germany, 1920. First World War is lost. The peace treaty of Versailles obliges Germany to reduce its army, the "Reichswehr" to 100,000 soldiers. Influencal groups of economists and military leaders connect in the "Nationalen Vereinigung" a national convention to plan the coup d'etat. Among them the chief of landscaping and member of the board of directors of the German Bank, Wolfgang Kapp and the highest ranked commanding General Walther, Freiherr von Lüttwitz. General Ludendorf, who used to be the chief of the Supreme Army Command during the World War, pulls the strings in he background by his middlemen Pabst and Colonel Bauer. When the government wanted to dissolve the "Brigade Ehrhardt", the most powerful Freikorps, General Lüttwitz disobeys this order and orders the troupes to march against the government in Berlin. The Government has to flee, first to Dresden, then to Stuttgart. Large parts of the army follow the putschists, who however, are not united themselves. First victim is Secretary of Finances Erzberger.
Genres: History,Der Gewaltfrieden (2010)
Actors: Jürgen Tarrach (actor), Bernd Fischerauer (director), Hans-Michael Rehberg (actor), Mathieu Carrière (actor), Hannes Michael Schalle (composer), Bernd Fischerauer (writer), Osman Ragheb (actor), Serge Avedikian (actor), Bruno F. Apitz (actor), Gerald Alexander Held (actor), Rainer Basedow (actor), Bernd Fischerauer (actor), Marion Mitterhammer (actress), Adriana Altaras (actress), Katrin Pollitt (actress),
Genres: Drama,Joe and Max (2002)
Actors: Brad Krevoy (producer), Til Schweiger (actor), Bruce Weitz (actor), Jürgen Schornagel (actor), Gerhard Schmidt (producer), Jeff Beal (composer), David Paymer (actor), Peter Pauli (actor), Richard Roundtree (actor), Rolf Kanies (actor), August Zirner (actor), Brad Krevoy (producer), Wilfried Hochholdinger (actor), Pimes Doerfler (miscellaneous crew), Cassandra Barbour (miscellaneous crew),
Genres: Biography, Drama, Sport, War,Max (2002)
Actors: Judit Hernádi (actress), Attila Árpa (actor), Molly Parker (actress), Kevin McKidd (actor), John Cusack (producer), Richard Szabó (miscellaneous crew), Kerry Shale (actor), Peter Capaldi (actor), John Cusack (actor), Ulrich Thomsen (actor), Noah Taylor (actor), E. Andrew Pecs (miscellaneous crew), Catherine Charlton (miscellaneous crew), Linda Gamble (miscellaneous crew), François Ivernel (producer),
Plot: Munich, 1918. German-Jew Max Rothman has returned to much of his pre-war life which includes to his wife Nina and their two children, to his mistress Liselore von Peltz, and to his work as an art dealer. He has however not returned to being an aspiring painter as he lost his dominant right arm during the war. He is approached by an aspiring painter, a thirty-year old Austrian war veteran named 'Adolf Hitler' (qv), who wants him to show his works. Although he doesn't think the paintings are all that original and he doesn't really like Hitler as a person, Rothman takes Hitler under his wings if only because of their camaraderie of being war veterans, and knowing that Hitler had nothing and no one to come back to after the war unlike himself. Rothman believes that Hitler has promise if only he can find his original artistic point of view. In part out of need for money, Hitler, on the urging of Captain Karl Mayr, agrees to work for the army as a political spokesman in anti-Semitic propaganda. Slowly, Hitler's view becomes a holistic one of a new world, where he begins to meld his art and politics. Rothman becomes excited about Hitler's artistic viewpoint, despite its anti-Semitic bent. The question becomes if the sentiments behind the view will take over its artistic merit.
Keywords: 1910s, 1920s, 1930s, abstract-art, adultery, amputee, anti-semitism, apparition, art, art-dealerGenres: Drama, War,
Taglines: Art + Politics = Power
Quotes:
Max Rothman: Hitler, come on. I'll buy you a glass of lemonade.Max Rothman: You're an awfully hard man to like, Hitler, but I'm gonna try. Because if I've learned anything over the past four years, it's that we all shit the same, scream the same, and die the same.
Max Rothman: So you're an anti-Semite.::Adolf Hitler: On the contrary, I admire the Jews.::Max Rothman: Really?::Adolf Hitler: Yes, they're very intelligent people.::Max Rothman: Well, there are intelligent ones and not so intelligent ones...::Adolf Hitler: No, no, no, they're all intelligent because they guard the purity of their blood.::Max Rothman: The what?::Adolf Hitler: The purity of the blood. Because the secret of the Jews lies in their pure Jewish blood. That's why they're the mightiest counterpart to the Aryan race.::Max Rothman: What's the secret?::Adolf Hitler: Is your father Jewish?::Max Rothman: Yes, he is.::Adolf Hitler: Mother?::Max Rothman: Why not ask whether she's a German? Isn't that a far more relevant question?::Adolf Hitler: Mensch! Of course your mom's Jewish.::Max Rothman: You're an awfully hard man to like, Hitler, but I'm gonna try, because if I've learned anything over the past four years, it's that we all shit the same, scream the same, and die the same.::Adolf Hitler: There's no need for vulgarity, Rothman.::Max Rothman: I know where you've been and God knows we've all been turned into assholes there. Now listen to me well: you may not think you're an anti-Semite, but in fact you are.::Adolf Hitler: I'm not.::Max Rothman: But in this, as in all things, there's a reason. Your own hero Nietzsche said anti-Semitism is the ideology of those who feel cheated.::Adolf Hitler: How do you know Nietzsche's my hero?::Max Rothman: Because you've obviously skimmed his ideas.::Adolf Hitler: Well, I don't feel cheated.::Max Rothman: Excellent. Then stop acting like it.::Adolf Hitler: Are you gonna smoke another cigarette? You just put one out.::Max Rothman: Exactly. But now where is my instinct, my secret instinct for self-preservation, I ask you? I've heard these theories all my life: blood science, eugenics; it's rubbish. It's complete nonsense. It's kitsch. Put it out of your mind. It's not modern. It's not scientific. It will hold you back as an artist.
George Grosz: What's his name?::Max Rothman: Hitler.::George Grosz: Never heard of him.::Max Rothman: You will.
Max Rothman: Try not to be one of those people who finds a slight in any compliment.
Max Rothman: [to His Kids] Hello midgets.
Max Rothman: [referring to Hitler] He had a bad war.
Max Rothman: I've seen the future. Believe me, it came straight at us. There's no future in the future.
Liselore Von Peltz: I didn't know you had a Monet.::Max Rothman: [mouths] I don't.
Liselore Von Peltz: Where's your wife?::Max Rothman: Waiting for her entrance, I suppose.::Liselore Von Peltz: And where does that leave me?::Max Rothman: Talented, with options.
Karl May (1974)
Actors: Egon von Jordan (actor), Fritz von Friedl (actor), Rudolf Prack (actor), Rudolf Schündler (actor), Alexander Golling (actor), Heinz Moog (actor), Wolfgang Büttner (actor), Harry Hardt (actor), Marquard Bohm (actor), Attila Hörbiger (actor), Leon Askin (actor), Peter Kern (actor), Helmut Käutner (actor), Rudolf Fernau (actor), Guido Wieland (actor),
Genres: Biography, Drama, History, War,Grosz, George Filmography
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1924, role: actor , character name: Himself
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George Grosz Enemy Of The State 1 10
A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'interesting'? -
George Grosz Enemy Of The State 2 10
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George Grosz Enemy Of The State 3 10
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"George Grosz's Ecce Homo" presented by Max Waterhouse
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated major artists of the 20th century. Published in 1923, 'Ecce Homo' was a suite of 100 prints depicting the sordid affairs of Berlin's middle-classes. The German authorities were so offended by the images that they prosecuted Grosz and many of the prints later perished in Nazi book burnings. The original lithographs are now scarce. Most often seen are 1965-66 reprints. Ours are from the original 1922 printings (and look that much richer for it). To view original prints by Grosz from the 'Ecce Homo' series click here » http://bit.ly/19BDz8w Biography - George Grosz was born in Berlin and studied there and in Dresden before moving to Paris in 1913 to develop his artistic style. Grosz fought in WW1 bu... -
GEORGE GROSZ
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre real era Georg Ehrenfried fue un pintor alemán -
George Grosz
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural drawings of Berlin life in the 1920s. George Grosz was born Georg Ehrenfried Groß in Berlin, Germany but changed his name in 1916 out of a romantic enthusiasm for America that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life. (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.) In 1914 Grosz volunteered for military service; like many other artists, he embraced the first world war as "the war to end all wars", but he was quickly disillusioned and was given a discharge after hospita... -
George Grosz
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried Gross, propietario de una fonda, y su madre Marie Wilhelmine Luise.Cuando Gross tenía solo siete años su padre murió. Junto con su madre vivían altertativamente en Berlin y en Stolp en Pomerania, donde Georg started empezó la escuela secundaria en 1902. En 1908 fue expulsado de la escuela. Despues de aprobar los examenes de entrada empezó sus estudios en la Royal Academy de Arte in Dresden. En la Academia se especializó arte gráfico y cooperó en revistas satíricfs a principios de 1910. En 1912 Grosz (entonces Gross) se matriculó en un curso de arte gráfico en la escula de Arte (Arts and Crafts) en Berlin. En 1913 pasó varios meses en Paris en el estudio de Colarossi. Los principales temas de sus d... -
Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Line of Fire -- George Grosz' Great Desire), Germany 2009 (Trailer: 8 min, Film: 63 min) urban@fh-brandenburg.de http://informatik.fh-brandenburg.de/~urban The 50th anniversary of the death of George Grosz in the year 2009 is the motive to appreciate this distinguished and satirical artist of the 1920s in Germany cinematically. George Grosz was born in Germany's capital Berlin in 1893. A dramatic experience for him is his military service in the years 1914 till 1917 during World War I. In 1916 he has his artistic coming-out, in 1918 he co-founds the Berlin Dada-group und joins the newly founded German communist party, the KPD. After the seizure of power by the Nazis in 1933, Grosz leaves Germany with ... -
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Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his savagely caricatural drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933. George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran. Grosz grew up in the Pomeranian town of Stolp, where his mother became the keeper of the local Hussar's Officers' mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot. Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard Grutzner, ...
George Grosz Enemy Of The State 1 10
- Order: Reorder
- Duration: 9:16
- Updated: 10 Jan 2014
- views: 5451
A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'interesting'?
A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'interesting'?
wn.com/George Grosz Enemy Of The State 1 10
A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'interesting'?
- published: 10 Jan 2014
- views: 5451
George Grosz Enemy Of The State 2 10
- Order: Reorder
- Duration: 9:58
- Updated: 10 Jan 2014
- views: 1893
- published: 10 Jan 2014
- views: 1893
George Grosz Enemy Of The State 3 10
- Order: Reorder
- Duration: 9:29
- Updated: 10 Jan 2014
- views: 1080
- published: 10 Jan 2014
- views: 1080
"George Grosz's Ecce Homo" presented by Max Waterhouse
- Order: Reorder
- Duration: 3:06
- Updated: 23 Aug 2013
- views: 4449
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated major artists of the 20th century.
Published in 1923, 'Ecce Homo' was...
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated major artists of the 20th century.
Published in 1923, 'Ecce Homo' was a suite of 100 prints depicting the sordid affairs of Berlin's middle-classes. The German authorities were so offended by the images that they prosecuted Grosz and many of the prints later perished in Nazi book burnings.
The original lithographs are now scarce. Most often seen are 1965-66 reprints. Ours are from the original 1922 printings (and look that much richer for it).
To view original prints by Grosz from the 'Ecce Homo' series click here » http://bit.ly/19BDz8w
Biography - George Grosz was born in Berlin and studied there and in Dresden before moving to Paris in 1913 to develop his artistic style. Grosz fought in WW1 but after being hospitalized was discharged in 1915. Grosz was later conscripted, but in 1917 the army decided to execute him after a failed suicide attempt; their decision was fortunately overturned with the help of his patron, Count Kessler.
Grosz's wartime experiences deeply affected his political outlook. He began to convey his hatred of German militarism in satirical images, though his subject matter was soon noticed by the authorities: Grosz was on one occasion prosecuted for indecent representations, which offend the sense of modesty and morality of a person of normal feeling. Inevitably, Grosz was hounded by the authorities and in 1933 he fled to America to settle permanently, returning to Berlin just once before his death there in 1959.
What is Goldmark?
A family business, we've been selling art from the Goldmark Gallery in Uppingham, UK for over 40 years and hold over 50,000 items in stock. Explore a wide range of the very best art and ceramics available to you through our website (http://www.goldmarkart.com) where you'll also find scholarship pages, books, online catalogues and even GoldmarkTV! Enjoy your visit here: http://bit.ly/18ZF7Lv
wn.com/George Grosz's Ecce Homo Presented By Max Waterhouse
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated major artists of the 20th century.
Published in 1923, 'Ecce Homo' was a suite of 100 prints depicting the sordid affairs of Berlin's middle-classes. The German authorities were so offended by the images that they prosecuted Grosz and many of the prints later perished in Nazi book burnings.
The original lithographs are now scarce. Most often seen are 1965-66 reprints. Ours are from the original 1922 printings (and look that much richer for it).
To view original prints by Grosz from the 'Ecce Homo' series click here » http://bit.ly/19BDz8w
Biography - George Grosz was born in Berlin and studied there and in Dresden before moving to Paris in 1913 to develop his artistic style. Grosz fought in WW1 but after being hospitalized was discharged in 1915. Grosz was later conscripted, but in 1917 the army decided to execute him after a failed suicide attempt; their decision was fortunately overturned with the help of his patron, Count Kessler.
Grosz's wartime experiences deeply affected his political outlook. He began to convey his hatred of German militarism in satirical images, though his subject matter was soon noticed by the authorities: Grosz was on one occasion prosecuted for indecent representations, which offend the sense of modesty and morality of a person of normal feeling. Inevitably, Grosz was hounded by the authorities and in 1933 he fled to America to settle permanently, returning to Berlin just once before his death there in 1959.
What is Goldmark?
A family business, we've been selling art from the Goldmark Gallery in Uppingham, UK for over 40 years and hold over 50,000 items in stock. Explore a wide range of the very best art and ceramics available to you through our website (http://www.goldmarkart.com) where you'll also find scholarship pages, books, online catalogues and even GoldmarkTV! Enjoy your visit here: http://bit.ly/18ZF7Lv
- published: 23 Aug 2013
- views: 4449
GEORGE GROSZ
- Order: Reorder
- Duration: 4:00
- Updated: 08 May 2010
- views: 4688
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre real era Georg Ehrenfried fue un pintor alemán
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre real era Georg Ehrenfried fue un pintor alemán
wn.com/George Grosz
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre real era Georg Ehrenfried fue un pintor alemán
- published: 08 May 2010
- views: 4688
George Grosz
- Order: Reorder
- Duration: 3:07
- Updated: 07 May 2012
- views: 27776
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural ...
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural drawings of Berlin life in the 1920s.
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany but changed his name in 1916 out of a romantic enthusiasm for America that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life. (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.)
In 1914 Grosz volunteered for military service; like many other artists, he embraced the first world war as "the war to end all wars", but he was quickly disillusioned and was given a discharge after hospitalization in 1915. In January 1917 he was drafted for service, but in May he was discharged as permanently unfit.
Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works he is best known for adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as "Remember Uncle August the Happy Inventor" which has buttons sewn on it (see it here), and also includes erotica, such as these drawings in the World Museum of Erotic Art.
Bitterly anti-Nazi, Grosz left Germany in 1932 and was invited to teach at the Art Students League of New York in 1933, where he would teach intermittently until 1955. He became a naturalized citizen of the United States in 1938. Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.
He continued to exhibit regularly. He painted Cain, or Hitler in Hell (1944), showing the dead attacking Hitler in Hell, and in 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected to the American Academy of Arts and Letters in 1954. Even though he had American citizenship, he resolved to return to Berlin in 1959 where he died on July 6 of that year from the effects of falling down a flight of stairs after a night of drinking.
In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum.
[from Wikipedia]
wn.com/George Grosz
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and New Objectivity group, known especially for his savagely caricatural drawings of Berlin life in the 1920s.
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany but changed his name in 1916 out of a romantic enthusiasm for America that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life. (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.)
In 1914 Grosz volunteered for military service; like many other artists, he embraced the first world war as "the war to end all wars", but he was quickly disillusioned and was given a discharge after hospitalization in 1915. In January 1917 he was drafted for service, but in May he was discharged as permanently unfit.
Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works he is best known for adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as "Remember Uncle August the Happy Inventor" which has buttons sewn on it (see it here), and also includes erotica, such as these drawings in the World Museum of Erotic Art.
Bitterly anti-Nazi, Grosz left Germany in 1932 and was invited to teach at the Art Students League of New York in 1933, where he would teach intermittently until 1955. He became a naturalized citizen of the United States in 1938. Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.
He continued to exhibit regularly. He painted Cain, or Hitler in Hell (1944), showing the dead attacking Hitler in Hell, and in 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected to the American Academy of Arts and Letters in 1954. Even though he had American citizenship, he resolved to return to Berlin in 1959 where he died on July 6 of that year from the effects of falling down a flight of stairs after a night of drinking.
In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum.
[from Wikipedia]
- published: 07 May 2012
- views: 27776
George Grosz
- Order: Reorder
- Duration: 5:39
- Updated: 08 Jun 2009
- views: 1695
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried Gross, propietario de una fonda, y su madre Marie Wilhelmine Luise.Cu...
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried Gross, propietario de una fonda, y su madre Marie Wilhelmine Luise.Cuando Gross tenía solo siete años su padre murió. Junto con su madre vivían altertativamente en Berlin y en Stolp en Pomerania, donde Georg started empezó la escuela secundaria en 1902. En 1908 fue expulsado de la escuela.
Despues de aprobar los examenes de entrada empezó sus estudios en la Royal Academy de Arte in Dresden. En la Academia se especializó arte gráfico y cooperó en revistas satíricfs a principios de 1910. En 1912 Grosz (entonces Gross) se matriculó en un curso de arte gráfico en la escula de Arte (Arts and Crafts) en Berlin. En 1913 pasó varios meses en Paris en el estudio de Colarossi. Los principales temas de sus dibujos en esta época eran crímenes y orgías y temas eróticos; sus viñetas fueron publicadas en "Ulk", "Lustige Blätter" y otros periódicos......
wn.com/George Grosz
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried Gross, propietario de una fonda, y su madre Marie Wilhelmine Luise.Cuando Gross tenía solo siete años su padre murió. Junto con su madre vivían altertativamente en Berlin y en Stolp en Pomerania, donde Georg started empezó la escuela secundaria en 1902. En 1908 fue expulsado de la escuela.
Despues de aprobar los examenes de entrada empezó sus estudios en la Royal Academy de Arte in Dresden. En la Academia se especializó arte gráfico y cooperó en revistas satíricfs a principios de 1910. En 1912 Grosz (entonces Gross) se matriculó en un curso de arte gráfico en la escula de Arte (Arts and Crafts) en Berlin. En 1913 pasó varios meses en Paris en el estudio de Colarossi. Los principales temas de sus dibujos en esta época eran crímenes y orgías y temas eróticos; sus viñetas fueron publicadas en "Ulk", "Lustige Blätter" y otros periódicos......
- published: 08 Jun 2009
- views: 1695
Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
- Order: Reorder
- Duration: 7:59
- Updated: 25 Feb 2011
- views: 10271
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Line of Fire -- George Grosz' Great Desire), Germany 2009 (Trailer: 8 mi...
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Line of Fire -- George Grosz' Great Desire), Germany 2009 (Trailer: 8 min, Film: 63 min)
urban@fh-brandenburg.de
http://informatik.fh-brandenburg.de/~urban
The 50th anniversary of the death of George Grosz in the year 2009 is the motive to appreciate this distinguished and satirical artist of the 1920s in Germany cinematically.
George Grosz was born in Germany's capital Berlin in 1893. A dramatic experience for him is his military service in the years 1914 till 1917 during World War I. In 1916 he has his artistic coming-out, in 1918 he co-founds the Berlin Dada-group und joins the newly founded German communist party, the KPD. After the seizure of power by the Nazis in 1933, Grosz leaves Germany with his family just in time to emigrate to the USA. In 1938 he becomes an American citizen. While in Germany his works of art are being confiscated as being degenerate, Grosz tries to gain ground in the USA. Without any success though he returns to Berlin in 1959, where he soon after dies.
Besides his artistic oeuvre Grosz has left posterity a large amount of letters and other texts. Selected passages are being read voice-over in the film by German actor Axel Prahl. Today's German artists Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist and Volker Stelzmann also have their say and comment on Grosz's still noticeable influences in modern German Art.
Das Menschenschwein im Visier -- die Sehnsucht des George Grosz
Der 50. Todestag von George Grosz im Jahr 2009 ist Anlass, diesen bedeutenden Künstler und satirischen Zeichner der Weimarer Zeit filmisch zu würdigen.
George Grosz wird 1893 in Berlin geboren. Eine einschneidende Erfahrung ist der Kriegs¬dienst zwischen 1914 und 1917. 1916 erlebt er seinen künstlerischen Durchbruch, wird 1918 Mitglied der Berliner Dada-Gruppe und tritt in die Kommunistische Partei ein. Nach der Machtergreifung der Nazis übersiedelt Grosz 1933 in die USA und wird amerikanischer Staatsbürger. Während man in Deutschland seine Werke als entartet beschlagnahmt, versucht Grosz in den USA Fuß zu fassen. 1959 kehrt Grosz nach Berlin zurück, wo er wenig später stirbt.
Grosz hat der Nachwelt neben seinen künstlerischen Arbeiten eine Vielzahl von Texten und Briefen hinterlassen. Ausgewählte Passagen trägt der Schauspieler Axel Prahl aus dem Off vor. Zu Wort kommen darüber hinaus die heute aktiven Künstler Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist und Volker Stelzmann.
Cast/Stab:
Sprecher/Narrators: Axel Prahl (George Grosz), Kathrin Angerer, Carlo Degen, Alexander Kasprik, Julian Trostorf
Kamera/Camera: Thomas Willke
Montage: Dirk Schreier
Musik/Music: Italo Jorges und Guido Kramann
2D Animation/Compositing: Christian Rösike und Alexander Urban
3D Animation: Jan Bubenik, Christina Ziem, Christoph Skamierski
Setfotografie/Photography: Stephanie Neumann
Mischung/Sounddesign: Eberhard Hasche
Drehbuch/Script: Gabriele Mosbach und Alexander Urban
Wissenschaftliche Mitarbeit und Recherche/Research: Susanne Draheim
Regie/Director: Alexander Urban
Produktion/Production: Fachhochschule Brandenburg
Archive/Archives: George Grosz Estate, Akademie der Künste Berlin, Chronos Media Potsdam
wn.com/Trailer Das Menschenschwein Im Visier Die Sehnsucht Des George Grosz
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Line of Fire -- George Grosz' Great Desire), Germany 2009 (Trailer: 8 min, Film: 63 min)
urban@fh-brandenburg.de
http://informatik.fh-brandenburg.de/~urban
The 50th anniversary of the death of George Grosz in the year 2009 is the motive to appreciate this distinguished and satirical artist of the 1920s in Germany cinematically.
George Grosz was born in Germany's capital Berlin in 1893. A dramatic experience for him is his military service in the years 1914 till 1917 during World War I. In 1916 he has his artistic coming-out, in 1918 he co-founds the Berlin Dada-group und joins the newly founded German communist party, the KPD. After the seizure of power by the Nazis in 1933, Grosz leaves Germany with his family just in time to emigrate to the USA. In 1938 he becomes an American citizen. While in Germany his works of art are being confiscated as being degenerate, Grosz tries to gain ground in the USA. Without any success though he returns to Berlin in 1959, where he soon after dies.
Besides his artistic oeuvre Grosz has left posterity a large amount of letters and other texts. Selected passages are being read voice-over in the film by German actor Axel Prahl. Today's German artists Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist and Volker Stelzmann also have their say and comment on Grosz's still noticeable influences in modern German Art.
Das Menschenschwein im Visier -- die Sehnsucht des George Grosz
Der 50. Todestag von George Grosz im Jahr 2009 ist Anlass, diesen bedeutenden Künstler und satirischen Zeichner der Weimarer Zeit filmisch zu würdigen.
George Grosz wird 1893 in Berlin geboren. Eine einschneidende Erfahrung ist der Kriegs¬dienst zwischen 1914 und 1917. 1916 erlebt er seinen künstlerischen Durchbruch, wird 1918 Mitglied der Berliner Dada-Gruppe und tritt in die Kommunistische Partei ein. Nach der Machtergreifung der Nazis übersiedelt Grosz 1933 in die USA und wird amerikanischer Staatsbürger. Während man in Deutschland seine Werke als entartet beschlagnahmt, versucht Grosz in den USA Fuß zu fassen. 1959 kehrt Grosz nach Berlin zurück, wo er wenig später stirbt.
Grosz hat der Nachwelt neben seinen künstlerischen Arbeiten eine Vielzahl von Texten und Briefen hinterlassen. Ausgewählte Passagen trägt der Schauspieler Axel Prahl aus dem Off vor. Zu Wort kommen darüber hinaus die heute aktiven Künstler Norbert Bisky, Gerhard Seyfried, Blixa Bargeld, Johannes Grützke, Jonathan Meese, Reinhard Kleist und Volker Stelzmann.
Cast/Stab:
Sprecher/Narrators: Axel Prahl (George Grosz), Kathrin Angerer, Carlo Degen, Alexander Kasprik, Julian Trostorf
Kamera/Camera: Thomas Willke
Montage: Dirk Schreier
Musik/Music: Italo Jorges und Guido Kramann
2D Animation/Compositing: Christian Rösike und Alexander Urban
3D Animation: Jan Bubenik, Christina Ziem, Christoph Skamierski
Setfotografie/Photography: Stephanie Neumann
Mischung/Sounddesign: Eberhard Hasche
Drehbuch/Script: Gabriele Mosbach und Alexander Urban
Wissenschaftliche Mitarbeit und Recherche/Research: Susanne Draheim
Regie/Director: Alexander Urban
Produktion/Production: Fachhochschule Brandenburg
Archive/Archives: George Grosz Estate, Akademie der Künste Berlin, Chronos Media Potsdam
- published: 25 Feb 2011
- views: 10271
George Grosz's Metropolis
- Order: Reorder
- Duration: 5:19
- Updated: 19 Nov 2015
- views: 185
This video is about George Grosz's Metropolis
This video is about George Grosz's Metropolis
wn.com/George Grosz's Metropolis
Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
- Order: Reorder
- Duration: 6:09
- Updated: 23 May 2012
- views: 564
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his savagely caricatural drawings of Berlin life in the 1920s. He was a pr...
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his savagely caricatural drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933.
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran. Grosz grew up in the Pomeranian town of Stolp, where his mother became the keeper of the local Hussar's Officers' mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot. Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard Grutzner, and by drawing imaginary battle scenes.[6] From 1909--1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Oskar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik.
In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avoid being sent to the front.[8] He was given a discharge after hospitalization for sinusitis in 1915. In 1916 he changed the spelling of his name to George Grosz as a protest against German nationalism[7] and out of a romantic enthusiasm for America[9] that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life.[10] (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.) In January 1917 he was drafted for service, but in May he was discharged as permanently unfit.
Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
Although Grosz made his first oil paintings in 1912 while still a student his earliest oils that can be identified today date from 1916. By 1914, Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings. Sharply outlined forms are often treated as if transparent. The City (1916--17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as Remember Uncle August the Unhappy Inventor which has buttons sewn on it, and also includes a number of erotic artworks.
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 watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: "A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past." Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.[
wn.com/Colagem De Trabalhos De George Grosz (The Red Hooded Lady Of The Woods, By Maja Ratkje)
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his savagely caricatural drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933.
George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran. Grosz grew up in the Pomeranian town of Stolp, where his mother became the keeper of the local Hussar's Officers' mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot. Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard Grutzner, and by drawing imaginary battle scenes.[6] From 1909--1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Oskar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik.
In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avoid being sent to the front.[8] He was given a discharge after hospitalization for sinusitis in 1915. In 1916 he changed the spelling of his name to George Grosz as a protest against German nationalism[7] and out of a romantic enthusiasm for America[9] that originated in his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May, and which he retained for the rest of his life.[10] (His artist friend and collaborator Helmut Herzfeld changed his name to John Heartfield at the same time.) In January 1917 he was drafted for service, but in May he was discharged as permanently unfit.
Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
Although Grosz made his first oil paintings in 1912 while still a student his earliest oils that can be identified today date from 1916. By 1914, Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings. Sharply outlined forms are often treated as if transparent. The City (1916--17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects. His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as Remember Uncle August the Unhappy Inventor which has buttons sewn on it, and also includes a number of erotic artworks.
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 watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: "A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past." Although a softening of his style had been apparent since the late 1920s, Grosz's work turned toward a sentimental romanticism in America, a change generally seen as a decline.[
- published: 23 May 2012
- views: 564
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Footage of George Grosz
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Download The Berlin of George Grosz PDF eBook
http://bit.ly/1QTzvD0 -
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George Grosz : Gesang an die Welt
Gesang an die Welt ("Song to the World", 1918) Peter Conrad Beyer, performer Miguel Molina, recording and editing Leopoldo Amigo, recording and editing From the CD "Noises and Whispers in Avant Gardes". -
George Grosz.Homenaje.
George Grosz es todo un maestro del expresionismo.En su obra vemos su desprecio por la sociedad aburguesada cuyos vicios y debilidades muestra con sarcasmo.Vinculado a la Nueva Objetividad y tambien al dadaismo con sus cuadros politicamente comprometidos es procesado por ofensas a la religion y es incluido por los nazis como artista degenerado.Tuvo que irse a Estados Unidos donde influyo a muchos pintores americanos. Esto es una copia pintada por mi de una obra suya(detalle)conocida como Escena Callejera(1925).Lo pinte al oleo sobre madera. -
The Berlin of George Grosz Drawings Watercolours and PrintsThe Berlin of George Grosz Drawings
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HOW ARTISTS SEE - Grosz & Dix (Lecture 5 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 5 of 5) Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA LECTURE TITLES 1. Claude Monet and the world of the Impressionists 2. Pablo Picasso and the Cubist experiment 3. The surreal world of Salvador Dali 4. Wassily Kandinsky and the road to abstraction 5. George Grosz, Otto Dix and the chaos of Weimar Germany The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did. The towering figure among the Impressionists was Cla... -
The Exile of George Grosz Modernism America and the One World Order
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George Grosz animated work (Animation)
A selection of some of Grosz's great work animated with a story that holds similar meanings to what he tried to convey throughout his years as an artist
Footage of George Grosz
- Order: Reorder
- Duration: 0:59
- Updated: 10 Jul 2016
- views: 2
- published: 10 Jul 2016
- views: 2
George Grosz in 1 minutes
- Order: Reorder
- Duration: 0:42
- Updated: 05 Jul 2016
- views: 0
Download The Berlin of George Grosz PDF eBook
- Order: Reorder
- Duration: 0:23
- Updated: 09 Jun 2016
- views: 0
http://bit.ly/1QTzvD0
http://bit.ly/1QTzvD0
wn.com/Download The Berlin Of George Grosz Pdf Ebook
George Grosz, Metropolis
- Order: Reorder
- Duration: 5:51
- Updated: 24 Apr 2016
- views: 31
Becky Parsons and Holli Benfield
UCO 1200 - Lillian Goudas
MWF 11:00 class
All images and background music are credited to their owners, we DO NOT own them.
...
Becky Parsons and Holli Benfield
UCO 1200 - Lillian Goudas
MWF 11:00 class
All images and background music are credited to their owners, we DO NOT own them.
Music from bensound.com
wn.com/George Grosz, Metropolis
George Grosz : Gesang an die Welt
- Order: Reorder
- Duration: 3:11
- Updated: 24 Apr 2016
- views: 61
Gesang an die Welt ("Song to the World", 1918)
Peter Conrad Beyer, performer
Miguel Molina, recording and editing
Leopoldo Amigo, recording and editing
From t...
Gesang an die Welt ("Song to the World", 1918)
Peter Conrad Beyer, performer
Miguel Molina, recording and editing
Leopoldo Amigo, recording and editing
From the CD "Noises and Whispers in Avant Gardes".
wn.com/George Grosz Gesang An Die Welt
Gesang an die Welt ("Song to the World", 1918)
Peter Conrad Beyer, performer
Miguel Molina, recording and editing
Leopoldo Amigo, recording and editing
From the CD "Noises and Whispers in Avant Gardes".
- published: 24 Apr 2016
- views: 61
George Grosz.Homenaje.
- Order: Reorder
- Duration: 0:25
- Updated: 11 Apr 2016
- views: 70
George Grosz es todo un maestro del expresionismo.En su obra vemos su desprecio por la sociedad aburguesada cuyos vicios y debilidades muestra con sarcasmo.Vinc...
George Grosz es todo un maestro del expresionismo.En su obra vemos su desprecio por la sociedad aburguesada cuyos vicios y debilidades muestra con sarcasmo.Vinculado a la Nueva Objetividad y tambien al dadaismo con sus cuadros politicamente comprometidos es procesado por ofensas a la religion y es incluido por los nazis como artista degenerado.Tuvo que irse a Estados Unidos donde influyo a muchos pintores americanos.
Esto es una copia pintada por mi de una obra suya(detalle)conocida como Escena Callejera(1925).Lo pinte al oleo sobre madera.
wn.com/George Grosz.Homenaje.
George Grosz es todo un maestro del expresionismo.En su obra vemos su desprecio por la sociedad aburguesada cuyos vicios y debilidades muestra con sarcasmo.Vinculado a la Nueva Objetividad y tambien al dadaismo con sus cuadros politicamente comprometidos es procesado por ofensas a la religion y es incluido por los nazis como artista degenerado.Tuvo que irse a Estados Unidos donde influyo a muchos pintores americanos.
Esto es una copia pintada por mi de una obra suya(detalle)conocida como Escena Callejera(1925).Lo pinte al oleo sobre madera.
- published: 11 Apr 2016
- views: 70
The Berlin of George Grosz Drawings Watercolours and PrintsThe Berlin of George Grosz Drawings
- Order: Reorder
- Duration: 0:16
- Updated: 20 Mar 2016
- views: 2
- published: 20 Mar 2016
- views: 2
HOW ARTISTS SEE - Grosz & Dix (Lecture 5 of 5) Prof Ian Aaronson
- Order: Reorder
- Duration: 63:01
- Updated: 08 Mar 2016
- views: 67
HOW ARTISTS SEE (Lecture 5 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Clau...
HOW ARTISTS SEE (Lecture 5 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
wn.com/How Artists See Grosz Dix (Lecture 5 Of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 5 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
- published: 08 Mar 2016
- views: 67
The Exile of George Grosz Modernism America and the One World Order
- Order: Reorder
- Duration: 0:21
- Updated: 17 Feb 2016
- views: 3
- published: 17 Feb 2016
- views: 3
George Grosz animated work (Animation)
- Order: Reorder
- Duration: 1:29
- Updated: 17 Dec 2015
- views: 33
A selection of some of Grosz's great work animated with a story that holds similar meanings to what he tried to convey throughout his years as an artist
A selection of some of Grosz's great work animated with a story that holds similar meanings to what he tried to convey throughout his years as an artist
wn.com/George Grosz Animated Work (Animation)
A selection of some of Grosz's great work animated with a story that holds similar meanings to what he tried to convey throughout his years as an artist
- published: 17 Dec 2015
- views: 33
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"Une vie, une œuvre" sur France culture - George Grosz
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HEARTFIELD_Kommunist_ kunst ist waffe
John Heartfield -- * 19. Juni 1891 in Berlin-Schmargendorf; † 26. April 1968 in Berlin (Ost) -- Geburtsname Helmut Herzfeld (auch als Herzfelde bekannt) Heartfields Arbeiten vor allem für die "Arbeiter Illustrierte Zeitung" (AIZ) und "Die Rote Fahne" prägten die visuelle Kommunikation ihrer Epoche. Dadurch trug Heartfield auch wesentlich zur Entwicklung moderner Bildsprache über das Genre hinaus bei. Nach einer abgebrochenen Buchhändlerlehre und einer Ausbildung an Kunstgewerbeschulen in München und Berlin wurde er 1914 als Gardesoldat eingezogen, dann aber auf Grund einer simulierten Nervenkrankheit entlassen. Er verkehrte im Romanischen Café mit der Berliner Bohème um Else Lasker-Schüler und mit George Grosz und gehörte der kleinen Gruppe junger Berliner Intellektueller an, welche sich... -
Domenico Natale Sarro - L'impresario delle Canarie (intermezzo)
Domenico Natale Sarri, o Sarro (Trani, 24 dicembre 1679 -- Napoli, 25 gennaio 1744) Performed by: Giorgio Gatti Sara Mingardo Orchestra da camera "In canto"; direttore Gabriele Catalucci. Picture by: George Grosz - Der Madchenhandler (1918) IMPORTANTE Se ritenete che questo video leda i vostri diritti di proprietà, vogliate comunicarmelo e sarà mio dovere eliminare il video dal web. Grazie. If you think this video is affecting your property rights, please tell me and I will remove it from the web. Thank you. -
"Oltre l'asta 22"
OLTRE L'ASTA DIRETTA TV Puntata n°22. Tutti i mercoledì alle 21.30 e la domenica dalle 18 su Primantenna e Motori TV. Giulio Da Milano, Carlo Fornara, Alessandro Lupo, Italo Mus, George Grosz, Carlo Levi, Enrico Paolucci. (+39) 011 4377770 info@santagostinoaste.it www.santagostinoaste.it -
HOW ARTISTS SEE - Monet (Lecture 1 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 1 of 5) Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA LECTURE TITLES 1. Claude Monet and the world of the Impressionists 2. Pablo Picasso and the Cubist experiment 3. The surreal world of Salvador Dali 4. Wassily Kandinsky and the road to abstraction 5. George Grosz, Otto Dix and the chaos of Weimar Germany The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did. The towering figure among the Impressionists was Cla... -
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 2 of 5) Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA LECTURE TITLES 1. Claude Monet and the world of the Impressionists 2. Pablo Picasso and the Cubist experiment 3. The surreal world of Salvador Dali 4. Wassily Kandinsky and the road to abstraction 5. George Grosz, Otto Dix and the chaos of Weimar Germany The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did. The towering figure among the Impressionists was Cla... -
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 3 of 5) Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA LECTURE TITLES 1. Claude Monet and the world of the Impressionists 2. Pablo Picasso and the Cubist experiment 3. The surreal world of Salvador Dali 4. Wassily Kandinsky and the road to abstraction 5. George Grosz, Otto Dix and the chaos of Weimar Germany The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did. The towering figure among the Impressionists was Cla... -
Karl Amadeus Hartmann: Gesangs-Szene (1961/1963)
Karl Amadeus Hartmann (1905-1963): Gesangs-Szene, per baritono e orchestra, testo tratto da "Sodoma e Gomorra" di Jean Giraudoux (1961/1963) -- Dietrich Fischer-Dieskau, baritono -- Symphonieorchester des Bayerischen Rundfunks diretta da Rafael Kubelik -- painting by George Grosz --- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collabor... -
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 4 of 5) Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA LECTURE TITLES 1. Claude Monet and the world of the Impressionists 2. Pablo Picasso and the Cubist experiment 3. The surreal world of Salvador Dali 4. Wassily Kandinsky and the road to abstraction 5. George Grosz, Otto Dix and the chaos of Weimar Germany The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did. The towering figure among the Impressionists was Cla...
"Une vie, une œuvre" sur France culture - George Grosz
- Order: Reorder
- Duration: 58:01
- Updated: 02 Mar 2015
- views: 267
- published: 02 Mar 2015
- views: 267
HEARTFIELD_Kommunist_ kunst ist waffe
- Order: Reorder
- Duration: 26:30
- Updated: 29 Jul 2012
- views: 5468
John Heartfield -- * 19. Juni 1891 in Berlin-Schmargendorf; † 26. April 1968 in Berlin (Ost) -- Geburtsname Helmut Herzfeld (auch als Herzfelde bekannt)
Heartf...
John Heartfield -- * 19. Juni 1891 in Berlin-Schmargendorf; † 26. April 1968 in Berlin (Ost) -- Geburtsname Helmut Herzfeld (auch als Herzfelde bekannt)
Heartfields Arbeiten vor allem für die "Arbeiter Illustrierte Zeitung" (AIZ) und "Die Rote Fahne" prägten die visuelle Kommunikation ihrer Epoche.
Dadurch trug Heartfield auch wesentlich zur Entwicklung moderner Bildsprache über das Genre hinaus bei.
Nach einer abgebrochenen Buchhändlerlehre und einer Ausbildung an Kunstgewerbeschulen in München und Berlin wurde er 1914 als Gardesoldat eingezogen, dann aber auf Grund einer simulierten Nervenkrankheit entlassen. Er verkehrte im Romanischen Café mit der Berliner Bohème um Else Lasker-Schüler und mit George Grosz und gehörte der kleinen Gruppe junger Berliner Intellektueller an, welche sich frühzeitig der allgemeinen Kriegsbefürwortung entzog.
John Heartfield war Gründungsmitglied der KPD (Kommunistische Partei Deutschlands) am 31. Dezember 1918 und trat der Partei gemeinsam mit seinem Bruder, George Grosz und Erwin Piscator bei.
1919 gehörte Heartfield zu den Initiatoren der von Berlin ausgehenden DaDa Kunstbewegung und war in dieser Szene als „MonteurDaDa" bekannt.
Im April 1920 gab Heartfield zusammen mit George Grosz und Raoul Hausmann "DaDa 3″ heraus. Im Juni beteiligte er sich an der "Ersten Internationalen DaDa-Messe" in Berlin.
John Heartfield erstellte ab den 20er Jahren wiederholt auch Plakate und Titelblätter für die KPD und "Die Rote Fahne". Die Gestaltung des teilweise avantgardistischen Designs der Roten Fahne oblag meist der Zeichnerin Helen Ernst. George Grosz und John Heartfield entwarfen ebenfalls Titelseiten, darunter weltberühmt gewordene Kollagen.
Gemeinsam mit Kurt Tucholsky gab Heartfield 1929 den viel beachteten Bildband "Deutschland, Deutschland über alles" heraus.
1930 wurde Heartfield ständiger Mitarbeiter der "Arbeiter Illustrierte Zeitung" (AIZ), für die bis 1938 die klassischen Photomontagen zur Zeitgeschichte entstanden, ab 1936 "Die Volks-Illustrierte" (VI).
Ab dem Frühjahr 1931 lebte der Künstler für ein Jahr in der Sowjetunion und arbeitete dort an verschiedenen Projekten, Ausstellungen und Theaterstücken.
1933 floh John Heartfield vor dem NS-Regime in die Tschechoslowakei, nachdem die SA seine Wohnung gestürmt hatte. Von Prag aus setzte er seine Arbeit für antifaschistische Publikationen in Deutschland fort.
Eine seiner bekanntesten Arbeiten ist mit "Millionen stehen hinter mir" betitelt und zeigt Adolf Hitler, in dessen zum Gruss nach hinten geklappte Hand ein archetypischer Industrieller Geldbündel legt.
1934 wurde Heartfield offiziell aus Deutschland ausgebürgert. Er beteiligte sich an der Karikaturenausstellung des Kunstvereins Mánes in Prag. Eine Protestnote des deutschen Gesandten gegen ihn und sein Schaffen erschwerte seine weitere Arbeit im Prager Exil. 1935 folgte eine Ausstellung seiner Werke in Paris, an der Heartfield selbst mitarbeitete.
Am 06. Dezember 1938 floh Heartfield mit Hilfe englischer Genossen nach Grossbritannien. In London arbeitete er als Buchgestalter für englische Verlage und erhielt eine Arbeitserlaubnis als freischaffender Cartoonist.
1940 verschlechterte sich sein Gesundheitszustand, da er als feindlicher Ausländer in einem Internierungslager festgehalten wurde. Er beteiligte sich an Veranstaltungen des "Freien Deutschen Kulturbundes" und betätigte sich als Buchgestalter für englische Verlage.
Im Spätsommer 1950 war John Heartfield aus dem englischen Exil in die DDR übergesiedelt. Zunächst lebten sie in Leipzig, ab 1956 in Berlin. Heartfield arbeitete für Verlage und Theater, illustrierte Bücher, gestaltete Buchumschläge und Bühnenbilder, u.a. für Bertolt Brecht.
1956 wurde Heartfield zum Mitglied der Deutschen Akademie der Künste (DDR) gewählt. Es folgten weitere staatliche Ehrungen und zahlreiche internationale Ausstellungen.
Am 26. April 1968 starb John Heartfield nach einer schweren Virusgrippe in Berlin. Er wurde auf dem Dorotheenstädtischen Friedhof beigesetzt.
wn.com/Heartfield Kommunist Kunst Ist Waffe
John Heartfield -- * 19. Juni 1891 in Berlin-Schmargendorf; † 26. April 1968 in Berlin (Ost) -- Geburtsname Helmut Herzfeld (auch als Herzfelde bekannt)
Heartfields Arbeiten vor allem für die "Arbeiter Illustrierte Zeitung" (AIZ) und "Die Rote Fahne" prägten die visuelle Kommunikation ihrer Epoche.
Dadurch trug Heartfield auch wesentlich zur Entwicklung moderner Bildsprache über das Genre hinaus bei.
Nach einer abgebrochenen Buchhändlerlehre und einer Ausbildung an Kunstgewerbeschulen in München und Berlin wurde er 1914 als Gardesoldat eingezogen, dann aber auf Grund einer simulierten Nervenkrankheit entlassen. Er verkehrte im Romanischen Café mit der Berliner Bohème um Else Lasker-Schüler und mit George Grosz und gehörte der kleinen Gruppe junger Berliner Intellektueller an, welche sich frühzeitig der allgemeinen Kriegsbefürwortung entzog.
John Heartfield war Gründungsmitglied der KPD (Kommunistische Partei Deutschlands) am 31. Dezember 1918 und trat der Partei gemeinsam mit seinem Bruder, George Grosz und Erwin Piscator bei.
1919 gehörte Heartfield zu den Initiatoren der von Berlin ausgehenden DaDa Kunstbewegung und war in dieser Szene als „MonteurDaDa" bekannt.
Im April 1920 gab Heartfield zusammen mit George Grosz und Raoul Hausmann "DaDa 3″ heraus. Im Juni beteiligte er sich an der "Ersten Internationalen DaDa-Messe" in Berlin.
John Heartfield erstellte ab den 20er Jahren wiederholt auch Plakate und Titelblätter für die KPD und "Die Rote Fahne". Die Gestaltung des teilweise avantgardistischen Designs der Roten Fahne oblag meist der Zeichnerin Helen Ernst. George Grosz und John Heartfield entwarfen ebenfalls Titelseiten, darunter weltberühmt gewordene Kollagen.
Gemeinsam mit Kurt Tucholsky gab Heartfield 1929 den viel beachteten Bildband "Deutschland, Deutschland über alles" heraus.
1930 wurde Heartfield ständiger Mitarbeiter der "Arbeiter Illustrierte Zeitung" (AIZ), für die bis 1938 die klassischen Photomontagen zur Zeitgeschichte entstanden, ab 1936 "Die Volks-Illustrierte" (VI).
Ab dem Frühjahr 1931 lebte der Künstler für ein Jahr in der Sowjetunion und arbeitete dort an verschiedenen Projekten, Ausstellungen und Theaterstücken.
1933 floh John Heartfield vor dem NS-Regime in die Tschechoslowakei, nachdem die SA seine Wohnung gestürmt hatte. Von Prag aus setzte er seine Arbeit für antifaschistische Publikationen in Deutschland fort.
Eine seiner bekanntesten Arbeiten ist mit "Millionen stehen hinter mir" betitelt und zeigt Adolf Hitler, in dessen zum Gruss nach hinten geklappte Hand ein archetypischer Industrieller Geldbündel legt.
1934 wurde Heartfield offiziell aus Deutschland ausgebürgert. Er beteiligte sich an der Karikaturenausstellung des Kunstvereins Mánes in Prag. Eine Protestnote des deutschen Gesandten gegen ihn und sein Schaffen erschwerte seine weitere Arbeit im Prager Exil. 1935 folgte eine Ausstellung seiner Werke in Paris, an der Heartfield selbst mitarbeitete.
Am 06. Dezember 1938 floh Heartfield mit Hilfe englischer Genossen nach Grossbritannien. In London arbeitete er als Buchgestalter für englische Verlage und erhielt eine Arbeitserlaubnis als freischaffender Cartoonist.
1940 verschlechterte sich sein Gesundheitszustand, da er als feindlicher Ausländer in einem Internierungslager festgehalten wurde. Er beteiligte sich an Veranstaltungen des "Freien Deutschen Kulturbundes" und betätigte sich als Buchgestalter für englische Verlage.
Im Spätsommer 1950 war John Heartfield aus dem englischen Exil in die DDR übergesiedelt. Zunächst lebten sie in Leipzig, ab 1956 in Berlin. Heartfield arbeitete für Verlage und Theater, illustrierte Bücher, gestaltete Buchumschläge und Bühnenbilder, u.a. für Bertolt Brecht.
1956 wurde Heartfield zum Mitglied der Deutschen Akademie der Künste (DDR) gewählt. Es folgten weitere staatliche Ehrungen und zahlreiche internationale Ausstellungen.
Am 26. April 1968 starb John Heartfield nach einer schweren Virusgrippe in Berlin. Er wurde auf dem Dorotheenstädtischen Friedhof beigesetzt.
- published: 29 Jul 2012
- views: 5468
Domenico Natale Sarro - L'impresario delle Canarie (intermezzo)
- Order: Reorder
- Duration: 36:34
- Updated: 28 Apr 2015
- views: 551
Domenico Natale Sarri, o Sarro (Trani, 24 dicembre 1679 -- Napoli, 25 gennaio 1744)
Performed by:
Giorgio Gatti
Sara Mingardo
Orchestra da camera "In canto"; ...
Domenico Natale Sarri, o Sarro (Trani, 24 dicembre 1679 -- Napoli, 25 gennaio 1744)
Performed by:
Giorgio Gatti
Sara Mingardo
Orchestra da camera "In canto"; direttore Gabriele Catalucci.
Picture by: George Grosz - Der Madchenhandler (1918)
IMPORTANTE
Se ritenete che questo video leda i vostri diritti di proprietà, vogliate comunicarmelo e sarà mio dovere eliminare il video dal web. Grazie.
If you think this video is affecting your property rights, please tell me and I will remove it from the web. Thank you.
wn.com/Domenico Natale Sarro L'Impresario Delle Canarie (Intermezzo)
Domenico Natale Sarri, o Sarro (Trani, 24 dicembre 1679 -- Napoli, 25 gennaio 1744)
Performed by:
Giorgio Gatti
Sara Mingardo
Orchestra da camera "In canto"; direttore Gabriele Catalucci.
Picture by: George Grosz - Der Madchenhandler (1918)
IMPORTANTE
Se ritenete che questo video leda i vostri diritti di proprietà, vogliate comunicarmelo e sarà mio dovere eliminare il video dal web. Grazie.
If you think this video is affecting your property rights, please tell me and I will remove it from the web. Thank you.
- published: 28 Apr 2015
- views: 551
"Oltre l'asta 22"
- Order: Reorder
- Duration: 59:54
- Updated: 16 Sep 2011
- views: 444
OLTRE L'ASTA
DIRETTA TV
Puntata n°22.
Tutti i mercoledì alle 21.30 e la domenica dalle 18 su Primantenna e Motori TV.
Giulio Da Milano, Carlo Fornara, Ale...
OLTRE L'ASTA
DIRETTA TV
Puntata n°22.
Tutti i mercoledì alle 21.30 e la domenica dalle 18 su Primantenna e Motori TV.
Giulio Da Milano, Carlo Fornara, Alessandro Lupo, Italo Mus, George Grosz, Carlo Levi, Enrico Paolucci.
(+39) 011 4377770
info@santagostinoaste.it
www.santagostinoaste.it
wn.com/Oltre L'Asta 22
OLTRE L'ASTA
DIRETTA TV
Puntata n°22.
Tutti i mercoledì alle 21.30 e la domenica dalle 18 su Primantenna e Motori TV.
Giulio Da Milano, Carlo Fornara, Alessandro Lupo, Italo Mus, George Grosz, Carlo Levi, Enrico Paolucci.
(+39) 011 4377770
info@santagostinoaste.it
www.santagostinoaste.it
- published: 16 Sep 2011
- views: 444
HOW ARTISTS SEE - Monet (Lecture 1 of 5) Prof Ian Aaronson
- Order: Reorder
- Duration: 63:50
- Updated: 08 Mar 2016
- views: 107
HOW ARTISTS SEE (Lecture 1 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Clau...
HOW ARTISTS SEE (Lecture 1 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
wn.com/How Artists See Monet (Lecture 1 Of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 1 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
- published: 08 Mar 2016
- views: 107
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ian Aaronson
- Order: Reorder
- Duration: 62:05
- Updated: 08 Mar 2016
- views: 53
HOW ARTISTS SEE (Lecture 2 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Clau...
HOW ARTISTS SEE (Lecture 2 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
wn.com/How Artists See Picasso (Lecture 2 Of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 2 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
- published: 08 Mar 2016
- views: 53
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian Aaronson
- Order: Reorder
- Duration: 56:48
- Updated: 08 Mar 2016
- views: 46
HOW ARTISTS SEE (Lecture 3 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Clau...
HOW ARTISTS SEE (Lecture 3 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
wn.com/How Artists See Dali (Lecture 3 Of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 3 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
- published: 08 Mar 2016
- views: 46
Karl Amadeus Hartmann: Gesangs-Szene (1961/1963)
- Order: Reorder
- Duration: 24:12
- Updated: 08 Mar 2011
- views: 2682
Karl Amadeus Hartmann (1905-1963): Gesangs-Szene, per baritono e orchestra, testo tratto da "Sodoma e Gomorra" di Jean Giraudoux (1961/1963) -- Dietrich Fischer...
Karl Amadeus Hartmann (1905-1963): Gesangs-Szene, per baritono e orchestra, testo tratto da "Sodoma e Gomorra" di Jean Giraudoux (1961/1963) -- Dietrich Fischer-Dieskau, baritono -- Symphonieorchester des Bayerischen Rundfunks diretta da Rafael Kubelik --
painting by George Grosz
---
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
wn.com/Karl Amadeus Hartmann Gesangs Szene (1961 1963)
Karl Amadeus Hartmann (1905-1963): Gesangs-Szene, per baritono e orchestra, testo tratto da "Sodoma e Gomorra" di Jean Giraudoux (1961/1963) -- Dietrich Fischer-Dieskau, baritono -- Symphonieorchester des Bayerischen Rundfunks diretta da Rafael Kubelik --
painting by George Grosz
---
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 08 Mar 2011
- views: 2682
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof Ian Aaronson
- Order: Reorder
- Duration: 66:01
- Updated: 08 Mar 2016
- views: 70
HOW ARTISTS SEE (Lecture 4 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Clau...
HOW ARTISTS SEE (Lecture 4 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
wn.com/How Artists See Kandinsky (Lecture 4 Of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 4 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page: http://www.summerschool.uct.ac.za/how_artists_see
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
http://www.summerschool.uct.ac.za
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
- published: 08 Mar 2016
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9:16
George Grosz Enemy Of The State 1 10
A docu drama abut this Dadaist. Sorry about the sound & picture quality. But still 'inte...
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George Grosz Enemy Of The State 1 10
George Grosz Enemy Of The State 1 10
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George Grosz Enemy Of The State 2 10
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George Grosz Enemy Of The State 2 10
George Grosz Enemy Of The State 2 10
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9:29
George Grosz Enemy Of The State 3 10
published: 10 Jan 2014
George Grosz Enemy Of The State 3 10
George Grosz Enemy Of The State 3 10
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3:06
"George Grosz's Ecce Homo" presented by Max Waterhouse
Max Waterhouse presents the 'Ecce Homo' suite by George Grosz, one of the most celebrated ...
published: 23 Aug 2013
"George Grosz's Ecce Homo" presented by Max Waterhouse
"George Grosz's Ecce Homo" presented by Max Waterhouse
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4:00
GEORGE GROSZ
George Grosz (Berlín, Alemania, 26 de julio de 1893 - 6 de julio de 1959), cuyo nombre rea...
published: 08 May 2010
GEORGE GROSZ
GEORGE GROSZ
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3:07
George Grosz
George Grosz (July 26, 1893 -- July 6, 1959) was a prominent member of the Berlin Dada and...
published: 07 May 2012
George Grosz
George Grosz
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5:39
George Grosz
Georg Ehrenfried Gross nació el 26 de julio de 1893 en Berlin. Su padre Karl Ehrenfried...
published: 08 Jun 2009
George Grosz
George Grosz
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7:59
Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
Das Menschenschwein im Visier - Die Sehnsucht des George Grosz (The Swine in Man in the Li...
published: 25 Feb 2011
Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
Trailer: Das Menschenschwein im Visier - Die Sehnsucht des George Grosz
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5:19
George Grosz's Metropolis
This video is about George Grosz's Metropolis
published: 19 Nov 2015
George Grosz's Metropolis
George Grosz's Metropolis
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6:09
Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
George Grosz (July 26, 1893 -- July 6, 1959) was a German artist known especially for his ...
published: 23 May 2012
Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
Colagem de trabalhos de George Grosz (The Red Hooded Lady of the Woods, by Maja Ratkje)
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0:59
Footage of George Grosz
published: 10 Jul 2016
Footage of George Grosz
Footage of George Grosz
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0:42
George Grosz in 1 minutes
Credits:Text from Wikipedia,video auto-generated by ai.pictures.
published: 05 Jul 2016
George Grosz in 1 minutes
George Grosz in 1 minutes
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0:23
Download The Berlin of George Grosz PDF eBook
http://bit.ly/1QTzvD0
published: 09 Jun 2016
Download The Berlin of George Grosz PDF eBook
Download The Berlin of George Grosz PDF eBook
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5:51
George Grosz, Metropolis
Becky Parsons and Holli Benfield
UCO 1200 - Lillian Goudas
MWF 11:00 class
All images and...
published: 24 Apr 2016
George Grosz, Metropolis
3:11
George Grosz : Gesang an die Welt
Gesang an die Welt ("Song to the World", 1918)
Peter Conrad Beyer, performer
Miguel Molin...
published: 24 Apr 2016
George Grosz : Gesang an die Welt
George Grosz : Gesang an die Welt
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0:25
George Grosz.Homenaje.
George Grosz es todo un maestro del expresionismo.En su obra vemos su desprecio por la soc...
published: 11 Apr 2016
George Grosz.Homenaje.
George Grosz.Homenaje.
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0:16
The Berlin of George Grosz Drawings Watercolours and PrintsThe Berlin of George Grosz Drawings
published: 20 Mar 2016
The Berlin of George Grosz Drawings Watercolours and PrintsThe Berlin of George Grosz Drawings
The Berlin of George Grosz Drawings Watercolours and PrintsThe Berlin of George Grosz Drawings
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63:01
HOW ARTISTS SEE - Grosz & Dix (Lecture 5 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 5 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical U...
published: 08 Mar 2016
HOW ARTISTS SEE - Grosz & Dix (Lecture 5 of 5) Prof Ian Aaronson
HOW ARTISTS SEE - Grosz & Dix (Lecture 5 of 5) Prof Ian Aaronson
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0:21
The Exile of George Grosz Modernism America and the One World Order
published: 17 Feb 2016
The Exile of George Grosz Modernism America and the One World Order
The Exile of George Grosz Modernism America and the One World Order
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1:29
George Grosz animated work (Animation)
A selection of some of Grosz's great work animated with a story that holds similar meaning...
published: 17 Dec 2015
George Grosz animated work (Animation)
George Grosz animated work (Animation)
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58:01
"Une vie, une œuvre" sur France culture - George Grosz
published: 02 Mar 2015
"Une vie, une œuvre" sur France culture - George Grosz
"Une vie, une œuvre" sur France culture - George Grosz
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26:30
HEARTFIELD_Kommunist_ kunst ist waffe
John Heartfield -- * 19. Juni 1891 in Berlin-Schmargendorf; † 26. April 1968 in Berlin (Os...
published: 29 Jul 2012
HEARTFIELD_Kommunist_ kunst ist waffe
HEARTFIELD_Kommunist_ kunst ist waffe
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36:34
Domenico Natale Sarro - L'impresario delle Canarie (intermezzo)
Domenico Natale Sarri, o Sarro (Trani, 24 dicembre 1679 -- Napoli, 25 gennaio 1744)
Perfo...
published: 28 Apr 2015
Domenico Natale Sarro - L'impresario delle Canarie (intermezzo)
Domenico Natale Sarro - L'impresario delle Canarie (intermezzo)
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59:54
"Oltre l'asta 22"
OLTRE L'ASTA
DIRETTA TV
Puntata n°22.
Tutti i mercoledì alle 21.30 e la domenica dalle ...
published: 16 Sep 2011
"Oltre l'asta 22"
"Oltre l'asta 22"
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63:50
HOW ARTISTS SEE - Monet (Lecture 1 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 1 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical U...
published: 08 Mar 2016
HOW ARTISTS SEE - Monet (Lecture 1 of 5) Prof Ian Aaronson
HOW ARTISTS SEE - Monet (Lecture 1 of 5) Prof Ian Aaronson
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62:05
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 2 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical U...
published: 08 Mar 2016
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ian Aaronson
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ian Aaronson
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56:48
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 3 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical U...
published: 08 Mar 2016
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian Aaronson
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian Aaronson
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24:12
Karl Amadeus Hartmann: Gesangs-Szene (1961/1963)
Karl Amadeus Hartmann (1905-1963): Gesangs-Szene, per baritono e orchestra, testo tratto d...
published: 08 Mar 2011
Karl Amadeus Hartmann: Gesangs-Szene (1961/1963)
Karl Amadeus Hartmann: Gesangs-Szene (1961/1963)
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66:01
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 4 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical U...
published: 08 Mar 2016
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof Ian Aaronson
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof Ian Aaronson
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"Une vie, une œuvre" sur France culture - George G...
HEARTFIELD_Kommunist_ kunst ist waffe...
Domenico Natale Sarro - L'impresario delle Canarie...
"Oltre l'asta 22"...
HOW ARTISTS SEE - Monet (Lecture 1 of 5) Prof Ian ...
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ia...
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian A...
Karl Amadeus Hartmann: Gesangs-Szene (1961/1963)...
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof ...
photo: AP / Mic Smith, FILE
16-Year Veteran Firefighter Unemployed After Black Lives Matter Racist Facebook Posts
Edit WorldNews.com 12 Jul 2016
A 16-year veteran of a South Carolina fire department is unemployed after taking to Facebook and threatening to run over Black Lives Matter activists who were protesting raising the Confederate flag at the state house by a secessionist group, the Charlotte Observer reported Tuesday.Captain Jimmy Morris was fired from his job in Columbia after his superiors were alerted about two Facebook posts he wrote Sunday night....
photo: Public Domain / Image by NASA, modifications by Seddon
[VIDEO]: Stunning 'Hidden Morse Code Message' Found On Martian Surface
Edit WorldNews.com 12 Jul 2016
In an out-of-this-world discovery, NASA has released fascinating new images of Mars which reveal bizarre natural sand patterns on the Red Planet that unbelievably resemble Morse code, Huffington Post Tech reported Tuesday.NASA explained in a post the Morse-code figures are sand dunes which have been “influenced by local topography.”....
photo: AP / Tony Gutierrez
Summer Of Chaos In U.S. Mirrors The End Of Power
Edit WorldNews.com 12 Jul 2016
Given the imperial architecture of many government entities and institutions are becoming more corrupt and less powerful, including an enormous disconnect between how people on the street perceive, experiment with and shape the various realities of power, power is coming under attack and quickly eroding ... Morals, too, will drastically be changed, as is already happening ... Despite Barriers No One Will Be Immune Don’t be mistaken, however....
photo: Public Domain / NASA, ESA, and G. Bacon
NASA's Juno sends back first view from Jupiter's orbit
Edit Mashable 13 Jul 2016
Juno will eventually get closer to Jupiter than any satellite in history — but it's already sending back exciting images. The probe's visible-light camera, known as JunoCam, was switched on six days after it arrived at Jupiter. The first image from orbit was obtained from JunoCam on July 10 at 1.30 p.m ... SEE ALSO ... Io, Europe and Ganymede ... Image ... ....
photo: WN / noha
Legal First: Judge Dismisses Evidence Obtained Through Stingray
Edit WorldNews.com 13 Jul 2016
A federal judge has suppressed evidence which was obtained without a warrant by law enforcement using a surveillance device which dupes cell phones into revealing their locations called a stingray according to Reuters. U.S ... This was the first time a federal judge has shot down evidence obtained via a stingray, which advocacy groups have been very critical of over the past few years ... - WN.com, Maureen Foody. ....
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I will quit if Chief Minister asks for my resignation: George
Edit The Hindu 13 Jul 2016
George on Tuesday rebutted the Opposition’s charges of his involvement in the alleged suicide of Deputy Superintendent of Police M.K ... George and suspension of two senior IPS officers named by the officer in a TV interview before his death, the Minister said, “I am ready to resign and face any punishment if the Opposition and the media has any documents to prove the charge.”....
BJP stages protest against George
Edit The Hindu 13 Jul 2016
George, Minister for Bengaluru Development, in connection with the suicide of Deputy Superintendent of Police M.K ... George and urged the ... George from the Cabinet, the BJP would continue its agitation, he said ... George....
BC Coroners Service confirms identity of motor vehicle incident victim (Government of British Columbia)
Edit Public Technologies 13 Jul 2016George W. Bush’s Bizarre Behavior At Dallas Memorial Leaves Many Horrified (VIDEO)
Edit Inquisitr 13 Jul 2016
Former president George W ... To give Bush credit, his speech during the Dallas Memorial was beautiful, heartfelt, and sincere, as reported by US News ... “George Bush dancing to ‘Glory Glory Hallelujah’ at the #DallasMemorial while smirking makes my heart hurt,” wrote another ... George, be on your best behavior. GEORGE ... GEORGE.… pic.twitter.com/qNnyTWbe6i ... Certainly this wasn’t the first time George W ... George W....
BC Coroners Service confirms identity of motor vehicle incident victim (Ministry of Public Safety & Solicitor General of British Columbia)
Edit Public Technologies 13 Jul 2016George Washington to face Florida State in BB&T; Classic
Edit Richmond Times Dispatch 13 Jul 2016
WASHINGTON (AP) — George Washington will face Florida State in the annual ......
CNN’s Don Lemon: ‘Stop Pretending Racism Doesn’t Exist, That Bias Doesn’t Exist’
Edit Breitbart 13 Jul 2016
[WARNING ... I think that won’t make a difference. Not that I really care what people say on social media ... His message was no different from George W ... Imagine George Bush saying the words that Barack Obama said and vis versa....
George Clooney In Talks To Direct Suburbicon
Edit Empire 13 Jul 2016
His previous collaborations with the brothers Coen have been fruitful, spawning Intolerable Cruelty, O Brother, Where Art Thou? and the forthcoming Hail, Caesar!) Now, George Clooney is taking a slightly different track ... George Clooney, Ethan Coen, Joel Coen....
Messages of unity echo across Dallas (Texas Democratic Party)
Edit Public Technologies 13 Jul 2016
(Source. Texas Democratic Party). July 12, 2016. Austin, TX -- Today, a message of unity echoed across Dallas to pay tribute to the five fallen police officers whose lives were taken in last week's horrific attack. President Obama gave remarks along with his predecessor, former President George W ... Former President George W ... ### ... (noodl. 34512380) ....
Star Trek creator's son unsure about gay Sulu
Edit Belfast Telegraph 13 Jul 2016
The son of Star Trek creator Gene Roddenberry has said his father would have been on board with an Enterprise crew member being portrayed as gay, but is unsure if it should have been helmsman Hikaru Sulu ... Gene Roddenberry died in 1991. Share Go To ... But original Sulu actor George Takei, 79, who is gay, has called the decision "unfortunate" ... "In a way, it's George's character," he said ... It's about time ... Deep Space Nine ... ....
'Star Trek' creator's son unsure of gay Sulu
Edit Times Union 13 Jul 2016
LOS ANGELES (AP) — The son of late "Star Trek" creator Gene Roddenberry says his father would have been on board with an Enterprise crew member being portrayed as gay, but he's unsure if it should have been helmsman Hikaru Sulu ... Roddenberry died in 1991 ... "There's so much going on in the world today ... However, original Sulu actor George Takei called the decision unfortunate ... "In a way, it's George's character," Roddenberry said ... ___ ... ....
Obama urges American reconciliation after Dallas attack
Edit China Daily 13 Jul 2016
DALLAS - They stood in a line, clasping hands as a choir sang, Democrat and Republican, black and white, politician and cop. Led by President Barack Obama and his predecessor George W. Bush, they honored the five Dallas policemen slain last week and urged Americans to rise above racial divides and reject despair ... In a spontaneous display of unity, Obama and first lady Michelle Obama, former president George W ... Paul, Minnesota ... ....
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