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George Grosz: An Autobiography
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George Grosz: An Autobiography

4.08  ·  Rating Details  ·  63 Ratings  ·  3 Reviews
This acclaimed autobiography by one of the twentieth century's greatest satirical artists is as much a graphic portrait of Germany in chaos after the Treaty of Versailles as it is a memoir of a remarkable artist's development. Grosz's account of a world gone mad is as acute and provocative as the art that depicts it, and this translation of a work long out of print restore ...more
Paperback, 325 pages
Published April 17th 1998 by University of California Press (first published January 1st 1946)
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Weimar Era Arts & Culture
9th out of 114 books — 30 voters
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Kenneth
Jan 08, 2009 Kenneth rated it really liked it  ·  review of another edition
Shelves: memoirbio
I really enjoyed reading this autobiography alongside the biographical perspective of Schneede's George Grosz: Life and Work, which, along with a large number of reproductions of the artist's work, contained further historical timelines and additional pictorial history of his contemporaries and times in Germany.
Grosz tended to romanticized people and events. Though chronological, this autobiography is not a mere recitation of events A to B. The author focuses on specific moments, often losing si
...more
Chris Wellbaum
May 21, 2012 Chris Wellbaum rated it really liked it
Really enjoyed reading this, not just for the biographical info on Grosz, but also for insights into the Weimar Republic, the New York art scene of the period, and late-19th & early 20th century Germany. Much more than just art history here.
K Kriesel
Feb 18, 2014 K Kriesel rated it liked it
Shelves: memoir-bio
As the book went on, it seemed as though Grosz lost interest in writing. His style became less vivacious and more rambling - however this does reflect the narrative he tells.
Bettie☯
Mar 06, 2014 Bettie☯ marked it as wish-list
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Referenced in The Orientalist
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“Nothing was holy to us. Our movement was neither mystical, communistic nor anarchistic. All of these movements had some sort of program, but ours was completely nihilistic. We spat on everything, including ourselves. Our symbol was nothingness, a vacuum, a void.” 2 likes
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