This monograph follows George Grosz from his early artistic formation and first satirical drawings through the radical years of Berlin during and after the First World War and into his later American period. Particular attention is given to the drawings, paintings and graphic work through which Grosz developed his distinctive visual language of caricature, social observation and political satire. Hess discusses Grosz's involvement with Dada and the Neue Sachlichkeit and examines the relationship between his imagery and the turbulent social conditions of the Weimar Republic. The book also considers Grosz's activities beyond painting and drawing, including costume and stage design, writing and political commentary. His emigration to the United States in 1932 marks an important transition in the study, allowing Hess to trace the changes in both subject matter and artistic approach that followed. The extensive selection of reproductions, including works in colour, makes the volume particularly useful for studying Grosz's graphic line, compositions, figures and recurring social types. The Yale edition thus combines an accessible account of the artist's career with substantial visual documentation and remains a useful reference for the study of German modernism, Dada and twentieth-century satirical art. This monograph follows George Grosz from his early artistic formation and first satirical drawings through the radical years of Berlin during and after the First World War and into his later American period. Particular attention is given to the drawings, paintings and graphic work through which Grosz developed his distinctive visual language of caricature, social observation and political satire. Hess discusses Grosz's involvement with Dada and the Neue Sachlichkeit and examines the relationship between his imagery and the turbulent social conditions of the Weimar Republic. The book also considers Grosz's activities beyond painting and drawing, including costume and stage design, writing and political commentary. His emigration to the United States in 1932 marks an important transition in the study, allowing Hess to trace the changes in both subject matter and artistic approach that followed. The extensive selection of reproductions, including works in colour, makes the volume particularly useful for studying Grosz's graphic line, compositions, figures and recurring social types. The Yale edition thus combines an accessible account of the artist's career with substantial visual documentation and remains a useful reference for the study of German modernism, Dada and twentieth-century satirical art. (AI-generated content description)