Images: The Individual
Daum Marries
George Grosz 1920 Galerie Nierendorf, Berlin. This work features elements of Dadaism, such as the various collage pieces. A photograph is in the upper left corner, which is in fact a photo of Eva Peter, Grosz’s wife. He referred to her as Daum (or Maud), thus the woman in the exposing lingerie is a representation of her. Grosz is symbolically shown as a robot figure, with cutouts of machine parts that serve as the mechanisms in which he functions, which relates to the universal male. Overall, this work mixes the beginnings of New Objectivity with Dadaism.(1) (1)The Berlin of George Grosz page 122. |
Self-Portrait with a Model
George Grosz 1928 Museum of Modern Art Grosz was taken with the works by the Masters, especially Dürer. Starting in 1923, Grosz’s style took on elements from the German Masters(1). A review of his work at the time describes his work as follows, “…some of his portraits and drapery studies those of the Florentines of the 16th and 17th centuries.”(2) This shows that he was inspired by the meticulous rendering of figures, and this can be seen in the work above. This element of the past is a trait of New Objectivity. (1)The Berlin of George Grosz page 14 (2)Drawings by George Grosz page 170 |
Dissonant Flute
George Grosz 1922 private collection “Grosz enjoyed the spectacle of it all, the opulence and poverty, the glitter and grime.”(1) This lithograph shows subjects that are common in Grosz’s work. A trio that consists of a war profiteer, a war veteran, and a provocative woman combine to create a thought provoking work. The war veteran plays the flute to collect money while the woman’s motives are unclear, which contrasts with her transparent garment(2). (1)The Berlin of George Grosz page 5. (2)The Berlin of George Grosz page 144 |
I Am Always There
George Grosz 1936 private collection This image speaks for itself in terms of imagery: a skeletal figure that serves as a haunting reminder of the rise of Hitler. This form is in fact a mannequin that Grosz dressed to serve as a model. This work was created while the artist was in America, and attests to the naturalistic style that he reverted to in response to New Objectivity.(1) This contrasts with the satirical, contour drawing in Figure 3. (1)George Grosz: The Years in America page 204 |
Self-Portrait in Florence
Max Beckmann 1907 private collection Beckmann portrays himself as a confident individual, in front of an Italian backdrop. The cigarette serves to show a certain ease, while his stare is telling of focus. The painting is done with rather expressive brushstrokes, which is different than his later works.(1) (1)Spiedler page 16 |
Self-Portrait in Tuxedo
Max Beckmann 1927 Busch-Reisinger Museum Holding a cigarette, hand on his waist, Beckmann is presenting himself as a cool, calm individual, imbuing certain feelings, such as indifference, confidence, and inner strength. The shadows work well with the idea of self reflection, which was an ongoing theme in Beckmann’s work. |
Carnival Double-Portrait, Max Beckmann and Quappi
Max Beckmann 1925 Kunstmuseum Düsseldorf im Ehrenhof The variété became a popular subject at the time Beckmann painted this work. This event was a combination of music, dance, and acrobatics.(1) The artist is relating himself and his wife, Quappi, to the lives of carnival performers, emphasizing role-play. Spiedler states that Quappi is in charge, since she holds the reigns in the painting. Beckmann seems to be led along, needing help. While this is stated, the couple is not engaged with one another, and their personal identities remain intact.(2) (1)Max Beckmann: A Dream of Life page 35 (2)Spiedler page 76 |
Masquerade
Max Beckmann 1948 St. Louis Art Museum Role-play is the central theme in this work, and the love of the carnival is clearly shown. While Beckmann and his wife were recognizable in Figure 7, these figures are disguised by masks, and seem to be just representing nonspecific characters. The colors are more vibrant than seen before, but the content seems to be watered down. |