George Grosz (b.1893, Berlin; d.1959, Berlin) aka "Georg Ehrenfried GroSS" (s-zed) Reference: Taschen "Dadaism" by Dietmar Elger (ed, by our dear friend Uta Grosenick) ISBN 3-8228-2946-3 "Like John Heartfield, he anglicised his name in 1916 -- deliberately provoking those around him. ... He was one of the first artists who immediately recognised the madness of the war. ... By increasinly eliminating the expressive gesture from his depictions, and making his drawings more and more impersonal and un-emotional, he hoped to arrive at an objectivsation of the artistic statement. "The persons who appear in his works, therefore, never evince portrait-like features, but are only recognisable as representatives of their social class. Grosz drew both the victims of the war and those who gained from it. He realised that the line between these two groups ran straight through the middle of the German people. On the streets of Berlin those crippled in action, along with beggars and prostitutes would encounter the well-fed middle-class who continued to pursue their pleasures, and the industrialists whose profits the war had only increased. Grosz understood his artistic work as a political struggle designed to arouse the beholder. " [Loc cit, P.48] "I drew and painted in a spirit of contrariness and tried to use my work to convince the world that it was ugly, sick and hypocritical." Of special interest is: "The guilty one remains unknown" (1919, Pen and Indian Ink drawing, collage on cardboard, 50.7cm x 35.5cm)