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Description:
Title of Vintage 1st Edition/1st Printing Adult Risque Cartoon Art Book: Ecce Homo (alternatively referred to, sometimes erroneously, as "Ecco Homo") ***PLUS+++ ADDED BONUS: Two (2) additional frameable framable loose Color Plates Prints laid-in, as published - "XI, Dedicated to Professor Freud (1922)" and "III, Beauty, Thee I Praise (1920)." ***LAVISHLY ILLUSTRATED THROUGHOUT with Artistic Illustrative Renderings in both FULL-COLOR as well as B&W! The FULL-COLOR PLATES are of George Grosz’ Original Watercolors dating from ca 1915-1922, and are all SUITABLE FOR FRAMING in Print-style! The Black & White Images are from his Original Drawings! Introduction by: Henry Miller (World-renowned Painter and Writer - 1981-1980) Artist: George Ehrenfried Grosz (Born Georg Gross - 1893-1959); Known for Dada Expressionist Art and Caustically Satirical Political Satire & Caricature; Lived/Active New York, Massachusetts, Germany Publisher: Grove Press, Inc. - New York Year of Publication: 1966 (just 7 years following the death of the Artist/Author) Edition: 1st/First U.S. Edition (true facsimile edition of original 1st Edition published in 1923 in Berlin, Germany) Printing: STATED 1ST/FIRST PRINTING Ex-Library Volume: NO Total of Numbered Pages: 84 Size: Oversized 10 1/4"W x 13"H Format: Textured Cloth-bound Hard Cover Boards as follows: original decorated textured taupe cloth linen boards; caricature in black duo tone wash to front board, black spine lettering Dust Jacket: Yes! Condition: Book’s Exterior Cover Boards & Interior Contents are NEAR MINT! *Cover/Exterior - evinces no shelf/edge wear or surface handling, having been well-protected by its DJ all these years! *Binding/Spine - tightly intact *Interior Contents - crisply clean pages evince no noted writing, foxing, markings, water damage, staining, or odors of any kind *Dust Jacket - FAIR ILLUSTRATIONS (16 Sixteen Watercolors & 84 Eighty-Four Drawings) ***EXCERPTED RESEARCH INFO ABOUT THE ARTIST/AUTHOR: "...Grosz’s paintings depicted modern city life with its desire, passions, and crimes. For Grosz, the chaos of the big city reflected the amorality of man. His basic attitude was totally pessimistic. By disregarding the laws of perspective, Grosz’s paintings represented a world falling into pieces. The sexual explicitness in his drawings matched the perverted knowledge of a precocious youth. Despite his distaste for anything romantic, one cannot fail to notice rather poetic moons and stars shining above city streets...In 1918 Grosz returned to Berlin even more convinced of society's insanity. At that time he made violently anti-war drawings, and drawings and paintings attacking the social corruption of Germany, including capitalists, prostitutes, the Prussian military caste and the middle class. Together with John Heartfield, master of the political photomontage, and his brother Wieland, Grosz produced a cartoon film, which unfortunately is lost today. They had been commissioned to make a war propaganda film for Germany; instead they turned into its opposite. In fact, Grosz considered himself a propagandist of the social revolution. He not only depicted victims of the catastrophe of the W.W.I—the disabled, crippled, and mutilated—he also portrayed the collapse of the capitalist society and its values. His wartime line drawings show him to be a master of caricature. In 1918 Grosz joined the German Communist Party; in 1919 he became a leading member of the Berlin DADA movement. At that time he made DADA collages, partly in collaboration with John Heartfield. In German Expressionist Prints and Drawings Vol. I: Essays (Los Angeles: LA County Museum, 1989), Alexander Dückers observes that "Once Grosz came to see the appearance of things as a masquerade, he dissolved the static unity of place and time and came close to the pictorial formula developed by the Futurists, who had exhibited in Berlin as early as April 1912: reality is captured not by a static, framed section of the visual field, but by the representation of moving objects occurring simultaneously in different places" (87-88). Like medieval narrative paintings or the sculptures of Alberto Giacometti, Grosz's 1921 offset lithographs for Die Abenteuer Des Herren Tartarin Aus Tarascon present a crowded field on which characters move or dream surrounded by other people or their thoughts but without any overt interaction. The consequences of his attempts to show the truth behind the masquerade of bourgeois life in postwar Germany were serious: Grosz was prosecuted and persecuted for slander and blasphemy. 1923 saw both the publication of his portfolio Ecco Homo and its confiscation for offending public morals. Ecce Homo (1923) was found to be a slanderous attack upon the army, which won damages and the plates for the portfolio in a law suit. Grosz's personal attack upon Hitler in 1925 made his decision to leave Germany inevitable. History, however, has vindicated Grosz. Condemned by the Nazis as a "Degenerate" artist, his works are now in the collections of most major museums in the US and Europe".***
| Status: For Sale |
Reference#: Ecce_Homo_George_Grosz_Art_Prints_Henry_Miller_Intro_Book |
| Condition:
Near Mint - Refer to Condition Details within Listing |
Year:
1966
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| Maker:
Intro by Henry Miller; Artist George Grosz |
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| Height:
13 in. (33.02 cm) |
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Width: 10.25 in. (26.03 cm)
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| Title:
Ecce Homo by George Grosz |
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