Einstein also worked on numerous journals and collective projects, among some of the more important: Die Aktion edited by Franz Pfemfert, Die Pleite and Der Blutige Ernst with George Grosz, and the legendary journal Documents: Doctrines, Archéologie, Beaux-arts, Ethnographie edited with Georges Bataille.
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Regarded as one of the first critics to appreciate the development of Cubism, as well as for his work on African art and influence on the European avant-garde, Einstein was a friend and colleague of such figures as George Grosz, Georges Braque, Pablo Picasso and Daniel-Henry Kahnweiler.
Charles Carey (producer), Oscar-nominated producer of the 1960 documentary George Grosz' Interregnum
Although James Ensor stood apart from his contemporaries, this innovator in 19th-century art significantly influenced such 20th-century artists as Paul Klee, Emil Nolde, George Grosz, Alfred Kubin, Wols, Felix Nussbaum, and other expressionist and surrealist painters of the 20th century.
In addition to music, Zimmermann studied painting with George Grosz at the Art Students' League, had three showings, and often lectured on modern German painters.
Kaiser's drama Side by Side (Nebeneinander, 1923), a 'people's play' (Volksstück), premiered in Berlin on the 3rd November, 1923, directed by Berthold Viertel with design by George Grosz.
In the 1920s some of his work was exhibited at the Akademie der Künste along with that of his contemporaries Otto Dix and George Grosz.
Mr. Polakov was born in Chicago in 1916 and studied in New York with George Grosz and at Columbia University.
He led the Modellierklasse and counted George Grosz, Karl Hanusch, Bernhard Kretzschmar and Paul Wilhelm as his students as well as discovering Hanns Georgi.
During his school years he had already made the acquaintance of George Grosz, who had taken on the talented youth as his only pupil.
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Left-wing artists had already formed groups, such as the November Group, Dadaist groups, or from 1924 to 1926, the Red Group, with which George Grosz, John Heartfield and Rudolf Schlichter were involved.
The museum's visual art collection includes works by the Berlin Secession (Max Liebermann and Lovis Corinth), New Objectivity and Expressionism (Otto Dix, George Grosz and Hannah Höch), as well as Georg Baselitz, Wolf Vostell, and the Junge Wilde.
Ascher met the artists of the Blue Rider and befriended the artists of the satirical German weekly magazine Simplicissimus, among others Gustav Meyrink, Alfred Kubin, George Grosz and Käthe Kollwitz.
The permanent collection of the gallery includes works by Berenice Abbott, Josef Albers, Eugène Atget, Romare Bearden, John Buck, Harold Eugene Edgerton, George Grosz, Philip Guston, R. B. Kitaj, Pablo Picasso, and Jerry Uelsmann.
In 1992, he returned again to an art-historical theme in My German Trip, in which Colescott imagines encounters with the great German printmakers Albrecht Dürer, Käthe Kollwitz, Otto Dix, George Grosz, and members of the German Expressionists, with highly comic results.
The WIR was supported by numerous left intellectuals, among them Martin Andersen Nexö, Henri Barbusse, Maxim Gorki, George Grosz, Maximilian Harden, Arthur Holitscher, Käthe Kollwitz, George Bernard Shaw, Upton Sinclair and Ernst Toller.