The Guilty One Remains Unknown

Prints and Drawings

1919

George Grosz
American, born Germany, 1893-1959

Status: Currently Off View
Department: Prints and Drawings

Artist: George Grosz
Title: The Guilty One Remains Unknown
Place: Germany (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1919
Medium: Collage composed of pen and brush and black ink, and cut and pasted newspaper and other commercially printed papers, laid down on cream wove paper
Inscriptions: Signed lower right, in graphite: "Grosz"; inscribed lower left, in graphite: "115. Der Schuldige bleibt Unerkannt"
Dimensions: 53.8 × 35.9 cm (21 3/16 × 14 3/16 in.)
Credit Line: Gift of Mr. and Mrs. Stanley M. Freehling
Reference Number: 1964.236

Leon Bazalgette, George Grosz, l’Homme et l’Oeuvre (Paris, 1926.)
Hans Hess, George Grosz (New Haven, 1985), p. 88, no. 71 (ill.)
Roger Winter, ed., On Drawing, 2d ed. (Collegiate Press, 1997).
Winfried Nerdinger, Perspektiven Der Kunst (Munich, 1984).
Maria Makela, “‘A Clear and Simple Style:’ Tradition and Typology in New Objectivity,” The Art Institute of Chicago Museum Studies, 28, 1 (2002), pp. 38-51, fig. 4.
Dietmar Elger, Dadaism (Taschen, 2004).
Marc Dachy, Archives Dada: Chronique (Paris, 2005).

Berlin, First International Dada Fair, 1920, cat. 5.
Uhr, Academie der Kunst, “George Grosz,” October 7-December 30, 1962, cat. 184.
York, England, City Art Gallery, “George Grosz,” 1962, cat. 92, by the Arts Council of Great Britain.
Arts Club of Chicago, “Drawings 1916/1966,” February 28-March 11, 1966, cat. 46.
Berlin, Staatliche Museen Preussischer Kulturbesitz, “Tendencies of the Twenties,” August 14-October 16, 1977.
Caracas, Museo De Arte Contemporaneo De Caracas, “El Espiritu Dada 1915-1925,” November 14-February 15, 1981.
The Art Institute of Chicago, “Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958-1983,” July 24-September 30, 1985, pp. 192-193, cat. 89 (ill.), cat. by Martha Tedeschi.
Berlin, Berlinische Galerieim Gropiusbau, “Stationen der Moderne,” September 25, 1988-January 6, 1989.
Madrid, Centro de Arte Reina Sofia, Ministerio de Cultura, “El Arte en Berlin Durante el Primer Tercio,” February 13-April 10, 1989.
Paris, Musée National d’Art Moderne, Centre Pompidou, “Dada,” March 2-June 20, 2005.
Washington, D.C., the National Gallery of Art, “Dada,” February 19-May 14, 2006, cat. 71, reprod. p. 117.
The Art Institute of Chicago, “Collecting for Chicago: Prints, Drawings, and Patronage,” June 14-September 14, 2008.
The Art Institute of Chicago, “Shatter, Rupture, Break”, February 15 - May 3, 2015

Estate of the artist, Princeton, N.J., to at least 1963 [George Grosz Nachlass stamp on verso; London 1963]. Sold by E.V. Thaw, New York, to the Art Institute, 1964.

27 George Grosz, The Guilty One Remains Unknown, 1919

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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