L'Art ensangonat. Saquejats i saquejadors durant el Tercer Reich

Gray Day (1921) is a painting by George Grosz. It reflects Germany's social conflict after the Great War. It is a work of denunciation, with a clear visual language; The knight of black, impeccably dressed, hat, tie and high -style high neck, is a fervent defender of the Kaiser Empire as the flag indicates in the American hole. It belongs to a social class, the upper German bourgeoisie, which benefited from the war. Behind him is a tolit dressed as a soldier; The dark and sad face reflects the rage and the disappointment. It is the great harmed by war; He has fought, has been mutilated and now survives living in the sordid environments of the workers' neighborhoods, as evidenced by the character with the shovel that crosses the scene, with the chimneys as a backdrop. Grosz painted a relentless and authentic testimony of the turbulent times that preceded the rise of Nazism. The play, like thousands of more pieces, was sentenced during the third Reich. Its author, the same year that Hitler went on power, migrated to the United States, thus saving his life. What happened to art in this period? Why were authors such as Grosz banned? How did the international art market been affected by this situation?

This book is an essay on art trade during the central decades of the twentieth century, when the old continent was embroiled in a terrible general war, while some countries like Spain, which were not directly affected by the storm of steel, had previously suffered their particular dose of violence and war.

Autors: Joan Santacana i Imma Socias

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L’art ensangonat Saquejats i saquejadors durant el Tercer Reich

L'avançament editorial de 'L'art ensangonat'