Drawing for ‘The Mirror of the Bourgeoisie’ c. 1925

Curator: This ink drawing, presently held at the Tate, is by George Grosz. It is titled ‘Drawing for The Mirror of the Bourgeoisie’. Editor: The linework immediately strikes me; it is sparse yet loaded with contempt, like a swift, brutal caricature. Curator: Grosz’s work, particularly in the Weimar era, was deeply critical of German society. He deployed biting satire to expose the moral decay he perceived. Editor: Note how the composition crams these figures together, amplifying the claustrophobia and perhaps mirroring the societal pressures of the time. Curator: Absolutely. The figures represent types more than individuals, embodying the superficiality and corruption Grosz associated with the bourgeoisie. It’s a condemnation of a class, really. Editor: His use of line is so efficient; each stroke contributes to the overall feeling of unease. It's minimalist yet powerful in its message. Curator: Grosz's critique remains relevant. This piece is a reminder that art can serve as a potent mirror, reflecting back society's flaws. Editor: A very effective mirror indeed—one that reveals the underlying structure of a critical moment in history.