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©
Estate of Georg Grosz, Princeton, New Jersey / VEGAP
George Grosz

Tatlinesque Diagram

1920
Watercolor, collage and ink on Paper.
41 x 29.2 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
570
(
1978.6
)
ROOM 44
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room

The traumatic experience of the war made George Grosz a misanthropist, but also an ideologically committed painter, an agitator who used art as a weapon. Therefore, when the Berlin Dada movement began to germinate, he signed up unconditionally. The Berlin strain of Dadaism was more determined by political events than that of any other city and gradually sharpened its radical stances. At the Café des Westerns, Grosz, John Heartfield and his brother Wieland Herzfelde frequented the circle of Richard Huelsenbeck, who, after belonging to the Zurich Dadaist group in 1916, had returned to Berlin with the intention of continuing his project there. Grosz also joined them when they became affiliated as a group with the recently established German Communist party in 1919 (although he subsequently gradually lost faith in the ideology) and played an active role in the First International Dada Fair organised at the end of June 1920 at the small Berlin gallery belonging to the collector and dealer Otto Burchard.

The present collage by Grosz, which was shown at the legendary Fair with the title of Tatlinistischer Plan, in reference to Tatlin, brings together a series of unconnected images in a geometric space that recalls the urban spaces of metaphysical painting. The nude with a hat in the foreground, which represents a prostitute, is connected with the female figure in another contemporary collage: Daum Marries her Pedantic Automaton George in May 1920. John Heartfield is Very Glad of It, a double portrait of Grosz and his wife Eva. This powerful image is combined with various collages, such as the head of a bearded man, a cabaret actress and an architectural portico. As Valeriano Bozal points out, with all these fragments Grosz provides us with “a tragic panorama populated by people from the most varied walks of life, in which all possess a common feature: their everyday nature.”

Paloma Alarcó

20th Centurys. XX - Pintura europea. DadaísmoWork on paperWatercolor, collage and inkPaper
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Tatlinesque Diagram. Plano tatliniano, 1920
Tatlinesque Diagram
George Grosz

©

Estate of Georg Grosz, Princeton, New Jersey / VEGAP

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The exploitation rights of the images correspond to the Fundacion Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

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Tatlinesque Diagram. Plano tatliniano, 1920
Tatlinesque Diagram
George Grosz

©

Estate of Georg Grosz, Princeton, New Jersey / VEGAP

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

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However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from  VEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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