George Grosz quotes:

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. It was a fight to the bitter end, one in which I was not defending ideals or beliefs but simply my own self.

I had grown up in a humanist atmosphere, and war to me was never anything but horror, mutilation and senseless destruction, and I knew that many great and wise people felt the same way about it.

What can I say about the First World War, a war in which I served as an infantryman, a war I hated at the start and to which I never warmed as it proceeded?

Very little changed fundamentally, except that the proud German soldier had turned into a defeated bundle of misery and the great German army had disintegrated.

In 1916 I was discharged from military service, or rather, given a sort of leave of absence on the understanding that I might be recalled within a few months. And so I was a free man, at least for a while.

It's an old ploy of the bourgeoisie. They keep a standing 'art' to defend their collapsing culture.

Painting is manual labor, no different from any other; it can be done well or poorly.

I was disappointed, not because we had lost the war but because our people had allowed it to go on for so many years, instead of heeding the few voices of protest against all that mass insanity and slaughter.

I thought the war would never end. And perhaps it never did, either.

I don't even like to talk about it. I hated being a number and not merely because I was a very small one. I let them bellow at me for just as long as it took me to find enough pluck to bellow back at them.

Peace was declared, but not all of us were drunk with joy or stricken blind.

The bourgeoisie and the petty bourgeoisie have armed themselves against the rising proletariat with, among other things, culture. It's an old ploy of the bourgeoisie. They keep a standing art to defend their collapsing culture.

In the end, they pardoned me and packed me off to a home for the shell-shocked. Shortly before the end of the war, I was discharged a second time, once again with the observation that I was subject to recall at any time.

How did I come to be an artist ? Endless curiosity, observation, research - and a great amount of joy in the thing

In public buildings set aside for the care and maintenance of the goods of the middle ages, a staff of civil service art attendants praise all the dead, irrelevant scribblings and scrawlings that, at best, have only historical interest for idiots and layabouts.

The cult of individuality and personality, which promotes painters and poets only to promote itself, is really a business. The greater the 'genius' of the personage, the greater the profit.

My drawings and paintings were done as an act of protest; I was trying by means of my work to convince the world that it is ugly, sick and hypocritical.

The bourgeoisie and the petty bourgeoisie have armed themselves against the rising proletariat with, among other things, 'culture.'

The war was a mirror; it reflected man's every virtue and every vice, and if you looked closely, like an artist at his drawings, it showed up both with unusual clarity.

In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o'clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words.

When John Heartfield and I invented photomontage in my South End studio at five o'clock on a May morning in 1916, neither of us had any inkling of its great possibilities, nor of the thorny yet successful road it was to take. As so often happens in life, we had stumbled across a vein of gold without knowing it.

My aim is to be understood by everyone. I reject the 'depth' that people demand nowadays, into which you can never descend without a diving bell crammed with cabbalistic bullshit and intellectual metaphysics. This expressionistic anarchy has got to stop... A day will come when the artist will no longer be this bohemian, puffed-up anarchist but a healthy man working in clarity within a collectivist society.

The neutrality and clarity of an engineering drawing is a better model for teaching about art than all the uncontrollable drivel about the cabbala and metaphysics and the ecstasy of sainthood.