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Anticipating the , Grosz left Germany in 1932 and emigrated to the United States.

He felt that in showing crime and violence in an exaggerated manner, art might actually have a restraining effect on reality.

And as the people themselves refused to shoulder the responsibility or the blame, they had to look for a scapegoat.

From 1947 to 1959, George Grosz lived in , where he taught painting at the Huntington Township Art League.

I stood up as best I could to their disgusting stupidity and brutality, but I did not, of course, manage to beat them at their own game.

Due to the increasing political instability in Berlin and his antagonistic relationship with the government, Grosz spent several months in Russia and the French Riviera in the mid to late 1920s, before accepting an invitation to teach at the Art Students League of New York in 1932.

citizenship, he resolved to return to Berlin, and relocated there in May 1959.

1,280 paintings and drawings — by Chagall, Picasso, Matisse, Otto Dix, Max Beckmann and others — had been confiscated.

All the people who made such a show of their loyalty to the Kaiser are lying low.

In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s.

Political engagement following the November Revolution [ ] George Grosz, Republican Automatons, 1920, watercolor on paper, , New York Following the in the last months of 1918, Grosz joined the , which was renamed the KPD in December 1918.