George Grosz details the lines, bumps, veins, and ruddiness of his friend Max Herrmann-Neisse’s head and hands in this portrait, picturing him almost within arm’s reach. Herrmann-Neisse, a poet and Berlin’s leading cabaret critic, shared the same politics, sense of humor, and cynical outlook as Grosz.
Though Grosz was known for his harshly critical caricatures of corrupt figures, this portrait reveals a different side of the artist, capable of portraying his friend with sympathy. Using a softer palette, Grosz renders his friend’s face with a contemplative expression that perhaps reflects Herrmann-Neisse’s description of feeling “completely at home” in Grosz’s studio. The artist and his subject spent many hours there, in sessions that produced more than 30 preparatory drawings for this portrait. Grosz represents his friend’s distinctive features—his hunched back and bald head—without the distortion so typical of the Expressionists. Instead, such flourishes are reserved for the upturned furniture and floral patterning in the painting’s background.
A representation of a particular individual.
An international artistic movement in art, architecture, literature, and performance that flourished between 1905 and 1920, especially in Germany and Austria, that favored the expression of subjective emotions and experience over depictions of objective reality. Conventions of Expressionist style include distortion, exaggeration, fantasy, and vivid, jarring, violent, or dynamic application of color.
The area of an artwork that appears farthest away from the viewer; also, the area against which a figure or scene is placed.