Schneede provides a straightforward overview of Grosz's life and traces the general evolution of his outlook and artistic efforts. The writing is serviceable but itself unremarkable, though of course I did read it in translation. More attention is given Grosz's circumstances and social / political interactions than on any particular art work, or even group of works -- but that is countered with the excellent prints of 90+ works (8 in colour), and there is a general discussion of changes in style, content, influences, and aesthetic ideas and ideals. This is true for the pocket edition, I imagine it's better yet for the full size edition.

Equally interesting are the excerpts from Grosz's poems and quotes from other writings, including his autobiography.

Overall, plenty of material from which the reader may develop personal views of Grosz and his work, rather than simply read about some expert's.

I'd not realised Grosz had moved to the U.S. immediately prior to the Nazi ascension to power in Germany, nor that he lived quite so late into the mid-20th century. Though he taught at several places in NYC, including his own studio (?), very little is made of his post-emigration work except to comment on how different and widely-held to be a failure it was. Grosz, himself, seemed to half-believe this.

Insight: Grosz changed his name from Georg to George partly in protest of the Prussian and Weimar war culture, and partly out of a romantic idealism for America. I often thought it was a crass Anglicisation whenever I read it that way in translation, and now I know better. ( )