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Ecce Homo: um olhar sobre o feminino na metrópole de George Grosz
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Essa tese procura compreender o papel que as figuras femininas desempenham na obra Ecce Homo, de George Grosz (1893-1959). Trata-se de um catálogo de litografias e aquarelas, publicado entre 1922-1923, em que estão reunidas cem imagens dedicadas à paisagem urbana da Berlim do entre-guerras, produzidas entre os anos de 1915 e 1922. Com vista a explorar as possibilidades de leitura dessas imagens, o estudo se deu a partir da análise de algumas obras, escolhidas como amostra do álbum, onde são estudadas questões de
ordem estética e sociológica, destacando-se uma imagem particular, em que o artista dialoga com Sigmund Freud (1856-1939), pai da Psicanálise, para se analisar, com isso, as questões de gênero que ali se encontram. O estudo tem um caráter exploratório e analítico, recorrendo-se à revisão teórica e à análise crítica de fontes secundárias, à própria fortuna crítica do artista, bem como sua autobiografia, e à análise formal e iconográfica das obras. Três aspectos centrais, alinhados ao objetivo deste trabalho - discutir a representação do feminino - constituem o foco do presente estudo: a) a vida urbana na metrópole alemã dos anos 1910-1920 e seus impactos para a produção artística; b) a experiência da mulher em tais circunstâncias e, finalmente; c) o estudo de sua imagem na obra Ecce Homo. Ao fim da investigação, o que se revela é o caráter encobridor das imagens como resistência ao novo estatuto que se abria para a experiência feminina, identificando-se como protagonista da obra a mulher que ali não está: a “nova mulher” (neue Frau), pontuando-se, com isso, que, em
Ecce Homo, não se trata da mulher representada, mas daquela que se quis calar.
This thesis aims to comprehend the role played by the female figure in the work Ecce Homo, by George Grosz (1893-1959). Ecce Homo is a catalogue of lithographs and watercolors, published in 1923, where the artist gathered one hundred images dedicated to the interwar Berlin’s landscape, which were produced between 1915 and 1923. In order to explore the possibilities in such work, the investigation is conducted from the analysis of some works, chosen as a sample of the catalogue. For such, questions of aesthetic as well as sociological order are equally analyzed, highlighting particularly the work that dialogues with Sigmund Freud, Psychoanalysis’ founder, in order to understand some gender issues inserted in it. The study has an exploratory and analytical character, recurring to theoretical review and critical analysis of secondary sources; to the artist’s own critical fortune and, above all; to the formal and iconographic analysis of the works. Three central aspects, aligned to the research objectives – discussing the representation of the feminine - are the focus of this study, namely: a) the urban life in German metropolis of 1910-1920’s and its impacts on artistic production (the cultural crisis and the war experience); b) women experience in such circumstances and, finally; c) the meaning of her image in George Grosz’ work. At the end of this research what is revealed is the masking character of the images and the resistance to the new status open to the feminine, where the woman revealed as protagonist of the work is the woman who is not there: the new woman (“neue Frau”), noting that, in Ecce Homo, it is not about the woman represented, but the one who is silenced.
This thesis aims to comprehend the role played by the female figure in the work Ecce Homo, by George Grosz (1893-1959). Ecce Homo is a catalogue of lithographs and watercolors, published in 1923, where the artist gathered one hundred images dedicated to the interwar Berlin’s landscape, which were produced between 1915 and 1923. In order to explore the possibilities in such work, the investigation is conducted from the analysis of some works, chosen as a sample of the catalogue. For such, questions of aesthetic as well as sociological order are equally analyzed, highlighting particularly the work that dialogues with Sigmund Freud, Psychoanalysis’ founder, in order to understand some gender issues inserted in it. The study has an exploratory and analytical character, recurring to theoretical review and critical analysis of secondary sources; to the artist’s own critical fortune and, above all; to the formal and iconographic analysis of the works. Three central aspects, aligned to the research objectives – discussing the representation of the feminine - are the focus of this study, namely: a) the urban life in German metropolis of 1910-1920’s and its impacts on artistic production (the cultural crisis and the war experience); b) women experience in such circumstances and, finally; c) the meaning of her image in George Grosz’ work. At the end of this research what is revealed is the masking character of the images and the resistance to the new status open to the feminine, where the woman revealed as protagonist of the work is the woman who is not there: the new woman (“neue Frau”), noting that, in Ecce Homo, it is not about the woman represented, but the one who is silenced.
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George Grosz Paisagem urbana Pintura alemã Imagem feminina Feminismo Urban landscape German painting Female image Feminism