This overdue investigation of George Grosz’s (1893–1959) most compelling paintings, drawings, prints, and collages offers a reassessment of the celebrated German Expressionist during his years in Berlin—from his earliest artistic endeavors to the trenchant satirical images and searing depictions of moral decay between the World Wars for which he is known today. Menacing street scenes, rowdy cabarets, corrupt politicians, wounded soldiers, greedy war profiteers, and other symbols of Berlin’s interwar decline all met with the artist’s relentless gaze, which exposed the core social issues that eventually led to Germany’s extreme nationalist politics. Featuring masterpieces as well as rarely published works, this book provides further insight into the artist’s creative pinnacle, reached during this critical and ominous period in German history.

"George Grosz (1893-1959) spent more than half of his creative career in the United States. The numerous paintings, watercolors, and drawings from all of the important groups of works from the American period, most of which have been newly photographed and are included here as full-page reproductions, refute the widespread opinion that Grosz's work lost its much-admired bite after he moved to New York. While his apocalyptic paintings prove that he was a visionary opponent of war and oppression, his unrivaled illustrations for the great authors of the period and for magazines like Esquire testify to Grosz's mastery of drawing." --Book Jacket.

"Published on the occasion of the exhibition, George Grosz: The Big No, a Hayward Touring exhibitions, opening in March 2012 and touring to venues across the UK"--Colophon.

This brilliant collection of Expressionist drawings captures the essence of Berlin during the 1920s. Devastating satiric works reveal prostitutes, porcine profiteers, inflation millionaires, and callous nouveau riche in a milieu in which starvation, disease, and desperation are just around the corner. Includes complete English captions.

Examines the ideological motivations of Grosz's political cartoons in an effort to define further the relationship between art and his political involvements in Berlin of the 1920s. Provides a clearer understanding of the artist and an unusual insight into the Weimar Republic.

Including 150 work on paper as well as several of the artist's key theoretical essays and letters, this text is the catalogue for a 1997 Royal Academy exhibition of the drawings, watercolours and prints of George Grosz.