Semitic activity. Roth only capitulated to the Nazis in 1933 after they succeed in burningmany books written by Jews. Berlin also possessed a substantial population of homeless people, who rioted after being fomented by an agitator from East Prussia. However, thisriot was not a political response to a lack of humanitarianism. Instead the riot releasedthe anger and frustration from day-to-day life that resulted in the injuring of an officialand the calling up of the police to quell the rioters.
German artist George Grosz painted some scenes of daily life during the Weimar years and often his works commented on the socio-economic conditions of the German people in the 1920s. Grosz often portrayed ideas that consistent with major political beliefs at the time, such as the ideology of the Social Democrats, and avoided anassociation with radical right-wing nationalists. Grosz compared the affluent to the poverty-stricken with such commentaries as the named “Although Ruhr Sickens,” whichdepicted a wealthy German only sacrificing by eating an entire prepared chicken.Contrarily, Grosz demonstrated the lives of the less-fortunate in “Sticking It Out” withimpoverished citizens begging for spare change on the street. This social disparity failedin providing for a fertile breeding ground for the rise of fascism, but allowed for theopportunity for a liberal democracy to take root.
Unlike the Nazis, Grosz also showed a society truly tired of war and not achingfor revenge in his work, “Four Years of Murder,” in which soldiers execute unarmed people. Grosz consistently created politically based satire that possibly consideredsedition in previous years, such as “High Treason,” “Fatherland, May You Be at Peace,”
What I Saw: Reports from Berlin 1920-1933
, (New York: Norton, 1996) 45-50, 63-64, 297
George Grosz, “Sticking It Out”
Albrechnung Folgt! 57 Politische Zeichnungen (1923),