FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 189 Nancy Pearcey book SAVING LEONARDO Part C Featured artist is George Grosz

A Conversation with Makoto Fujimura

Published on Jul 31, 2012

Dean of the School of Divinity at Cairn Univeristy, and Director of the Center for University Studies, Dr. Jonathan Master, sat down for a conversation with artist Makoto Fujimura to discuss his life and work, and his thoughts on the intersection of art, culture, and the Christian life.


Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art. I am afraid, however, that as evangelicals we have largely made the same mistake. Too often we think that a work of art has value only if we reduce it to a tract. This too is to view art solely as a message for the intellect.”

(Francis Schaeffer, Art and the Bible)


HowShouldWeThenLive Episode 3


HowShouldWeThenLive Episode 4



Saving Leonardo: A Review

In her new book, Saving Leonardo: A Call to Resist the Secular Assault on Mind, Morals, and Meaning (2010), Nancy Pearcey has produced the kind of text I want to write someday: deeply researched but accessibly composed, rooted in a vision of an integrated, wholistic Christian spirituality and aimed at helping the evangelical community – my theological community of origin – to see the “big picture” of cultural and spiritual orientations, and how these big pictures are expressed in the daily pictures of the academy, media, and the arts. She advances an understanding of the arts as rhetoric that deeply informs my own analysis and enjoyment of the arts:

The common stereotype is that art is merely a matter of personal expression. But the truth is that artists interact deeply with the thought of their day. They translate worldviews into stories and images, creating a picture language that people often absorb without even thinking about it. Leaning to “read” that language is a crucial skill for understanding the forces that are dramatically altering our world. [p. 4]

Pearcey openly acknowledges her indebtedness to the evangelical mover and shaker of the 70’s and 80’s, Francis Schaeffer. In many ways her book is a sequel and an up-dating of Schaeffer’s tome of 1976, How Should We Then Live: The Rise and Decline of Western Thought and Culture. This indebtedness is evident in many ways, from the reliance on worldview analysis, to the familiar split-level diagrams of Western humanism (grace over nature; fact over value), to the identification of the current ideological competitor of the Gospel. In Schaeffer’s case, it was secular humanism. In Pearcey’s, it’s global secularism. Pearcey’s book shares many of the same virtues that Schaeffer’s does, such as the bracing wake-up call from an overly private, spiritually enervating pietism towards a publicly relevant and prophetically discerning Christianity, and how worldviews find practical expression and application in daily life. Pearcey reflects Schaeffer’s critique of various forms of compartmentalization and dichotomization endemic in both secular and religious thought, and the philosophically insufficient answers such dichotomies lead toward.

Pearcey’s text suffers, however, from the same wince-producing generalizations and overly simplistic analyses that make and mar most of Schaeffer’s books. One is the overly rationalistic account of human experience and religious conversion. The greatest obstacles to God, according to this book, are “false ideas” (I vote heart-break and hormones). Another is the analysis and characterization of the Christian community itself. It’s either evangelical Calvinism or global secularism. And there’s little awareness that globalized secularism is in part a product of the very European Reformation to which she otherwise ascribes so much good.

Perhaps more disturbing and unhelpful are the dismissive ways in which non-Christian, or non evangelical thought and expressions are dealt with. Take her analysis of Mark Rothko’s work for example. She hearkens back to Schaeffer’s critique of liberal theology, of a religion of “nobody up there,” and applies it to Rothko. Yes, Rothko’s works are ambivalent and toward the end of his life increasingly dark. Yes, he committed suicide. But maybe there is a kind of Jewish mysticism and prophetic denunciation of commercialized representation that his work expresses. Presented in diametric contrast is the work of the contemporary Christian artist Makoto Fujimura, who (ironically) unambiguously acknowledges his indebtedness to Rothko’s work. But this relationship between the Jewish-American and Japanese-American is not explored or even acknowledged, or of the hybrid and syncretistic character of all worldviews (including evangelical Christian) to which their lives and art bear witness. It’s this kind of over simplistic, good-guy/bad-guy kind of analysis that has weakened evangelical cultural analysis over many years.

Nonetheless, given the general readership the book is aimed at, Pearcey advances a Christian analysis of culture that both critically and appreciatively acknowledges the role the arts play in translating the abstractions of “worldview” into concrete term. I remain a strong believer in and practitioner of “worldview analysis” and Pearcey presents a good case for it, enhanced with an informed, if generalizing, engagement with the realm of the arts. “Art is a visual language, and Christians have a responsibility to learn that language” (p. 208). The book is worth its price for that one line alone, and Pearcey provides a beginner’s handbook toward such “reading” of the arts. I might simply suggest that in addition to a responsibility to learn the language of the arts, Christians have an opportunity to enjoy them. The arts might actually enrich human existence, as well as provide material for a coherent and compelling worldview analysis.

James McCullough is a PhD student at the University of St Andrews. His research explores the relationship between works of visual art and spiritual formation.  He lives on a farm near St Andrews with his wife and four children.


Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” episode 9 “The Age of Personal Peace and Affluence”episode 8 “The Age of Fragmentation”episode 7 “The Age of Non-Reason” episode 6 “The Scientific Age” episode 5 “The Revolutionary Age” ,  episode 4 “The Reformation” episode 3 “The Renaissance”episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaeffer—who always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people’s worldviews affect their lives!!!!)

There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE  HUMAN RACE? There is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.




Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.


Featured artist is George Grosz

George Grosz’s Metropolis


George Grosz

From Wikipedia, the free encyclopedia
George Grosz

George Grosz in 1921
Born Georg Ehrenfried Groß
July 26, 1893
Berlin, German Empire
Died July 6, 1959 (aged 65)
West Berlin
Nationality German, American (after 1938)
Education Dresden Academy
Known for Painting, drawing
Notable work The Funeral (Dedicated to Oscar Panizza)
Movement Dada, New Objectivity

George Grosz (July 26, 1893 – July 6, 1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic. He emigrated to the United States in 1933, and became a naturalized citizen in 1938. Abandoning the style and subject matter of his earlier work, he exhibited regularly and taught for many years at the Art Students League of New York. In 1956 he returned to Berlin where he died.

Life and career[edit]

George Grosz was born Georg Ehrenfried Gross (German spelling Groß; German pronunciation: [ɡʀoːs]) in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran.[1] Grosz grew up in the Pomeranian town of Stolp (now Słupsk, Poland),[2] where his mother became the keeper of the local Hussars Officers’ mess after his father died in 1901.[3][4] At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot.[5] Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard von Grützner, and by drawing imaginary battle scenes.[6] From 1909 to 1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Osmar Schindler.[7] He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik.[7]

George Grosz, Daum marries her pedantic automaton George in May 1920, John Heartfield is very glad of it, Berlinische Galerie

In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avoid being sent to the front.[8] He was given a discharge after hospitalization for sinusitis in 1915.[8] In 1916 he changed the spelling of his name to “de-Germanise” and internationalise his name – thus Georg became “George” (an English spelling), while in his surname he replaced the German “ß” with its phonetic equivalent “sz”.[9] He did this as a protest against German nationalism[7] and out of a romantic enthusiasm for America[10] – a legacy of his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May – that he retained for the rest of his life.[11] His artist friend and collaborator Helmut Herzfeld likewise changed his name to John Heartfield at the same time.

In January 1917 Grosz was drafted for service, but in May he was discharged as permanently unfit.[12]

George Grosz, Republican Automatons, 1920, watercolor on paper, Museum of Modern Art, New York

In the last months of 1918, Grosz joined the Spartacist League,[13] which was renamed the Communist Party of Germany (KPD) in December 1918. He was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns (“God with us”), a satire on German society. In 1928 he was prosecuted for blasphemy after publishing anticlerical drawings, such as one depicting prisoners under assault from a minister who vomits grenades and weapons onto them, and another showing Christ coerced into military service. According to historian David Nash, Grosz “publicly stated that he was neither Christian nor pacifist, but was actively motivated by an inner need to create these pictures”, and was finally acquitted after two appeals.[14]By contrast, in 1942 Time magazine identified Grosz as a pacifist.[15]

In 1922 Grosz traveled to Russia with the writer Martin Andersen Nexø. Upon their arrival in Murmansk they were briefly arrested as spies; after their credentials were approved they were allowed to meet with Grigory Zinoviev, Anatoly Lunacharsky, and Vladimir Lenin.[16] Grosz’s six-month stay in the Soviet Union left him unimpressed by what he had seen.[17] He ended his membership in the KPD in 1923, although his political positions were little changed.[18]

Bitterly anti-Nazi, Grosz left Germany shortly before Hitler came to power. In June 1932, he accepted an invitation to teach the summer semester at the Art Students League of New York.[19] In October 1932, Grosz returned to Germany, but on January 12, 1933, he and his family emigrated to the United States.[20] Grosz became a naturalized citizen of the U.S. in 1938, and made his home in Bayside, New York. In the 1930s he taught at the Art Students League, where one of his students was Romare Bearden, who was influenced by his style of collage. He taught at the Art Students League intermittently until 1955.

Made in Germany (German: Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolio God with us (German: Gott mit Uns). Sheet 48.3 x 39.1 cm. In the collection of the MoMA

Grosz’ tomb in the Friedhof Heerstraße, Berlin

In America, Grosz determined to make a clean break with his past, and changed his style and subject matter.[21] He continued to exhibit regularly, and in 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected into the National Academy of Design as an Associate Academician in 1950. In 1954 he was elected to the American Academy of Arts and Letters. Though he had U.S. citizenship, he resolved to return to Berlin, where he died on July 6, 1959, from the effects of falling down a flight of stairs after a night of drinking.[22]


Although Grosz made his first oil paintings in 1912 while still a student,[7] his earliest oils that can be identified today date from 1916.[23] By 1914, Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children’s drawings.[8] Sharply outlined forms are often treated as if transparent. The City (1916–17) was the first of his many paintings of the modern urban scene.[24] Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession.

In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects (for example, see Fit for Active Service). His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as Remember Uncle August the Unhappy Inventor which has buttons sewn on it,[25] and also includes a number of erotic artworks.[26]

After his emigration to the USA in 1933, Grosz “sharply rejected [his] previous work, and caricature in general.”[27] In place of his earlier corrosive vision of the city, he now painted conventional nudes and many landscape watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: “A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past.”[28] Although a softening of his style had been apparent since the late 1920s, Grosz’s work assumed a more sentimental tone in America, a change generally seen as a decline.[29] His late work never achieved the critical success of his Berlin years.[30]

From 1947 to 1959, George Grosz lived in Huntington, New York, where he taught painting at the Huntington Township Art League.[31] It is said by locals that he used what was to become his most famous painting, Eclipse of the Sun, to pay for a car repair bill, in his relative penury. The painting was later acquired by house painter Tom Constantine[32] to settle a debt of $104.00. The Heckscher Museum of Art in Huntington purchased the painting in 1968 for $15,000.00, raising the money by public subscription. As Eclipse of the Sun portrays the warmongering of arms manufacturers, this painting became a destination of protesters of the Viet Nam War in Heckscher Park (where the museum is sited) in the late 1960s and early 70s.

In 2006, the Heckscher proposed selling Eclipse of the Sun at its then-current appraisal of approximately $19,000,000.00 to pay for repairs and renovations to the building. There was such public outcry that the museum decided not to sell, and announced plans to create a dedicated space for display of the painting in the renovated museum.[33]

Legacy and estate[edit]

George Grosz’s art influenced other New Objectivity artists such as Heinrich Maria Davringhausen, Anton Räderscheidt, and Georg Scholz.[34] In the United States, the artists influenced by his work included the social realists Ben Shahn and William Gropper.[35]

In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz’ Interregnum. He is fictionalized as “Fritz Falke” in Arthur R.G. Solmssen‘s novel A Princess in Berlin (1980). In 2002, actor Kevin McKidd portrayed Grosz in a supporting role as an eager artist seeking exposure in Max, regarding Adolf Hitler‘s youth.

The Grosz estate filed a lawsuit in 1995 against the Manhattan art dealer Serge Sabarsky, arguing that Sabarsky had deprived the estate of appropriate compensation for the sale of hundreds of Grosz works he had acquired. In the suit, filed in State Supreme Court in Manhattan, the Grosz estate claims that Sabarsky secretly acquired 440 Grosz works for himself, primarily drawings and watercolors produced in Germany in the 1910s and 20s.[30] The lawsuit was settled in summer in 2006.[36]

In 2003 the Grosz family initiated a legal battle against the Museum of Modern Art in New York City, asking that three paintings be returned. According to documents, the paintings were sold to the Nazis after Grosz fled the country in 1933. The museum never settled the claim, arguing that a three-year statute of limitations in bringing such a claim had expired. It is well documented that the Nazis stole thousands of paintings during World War II and many heirs of German painters continue to fight powerful museums to reclaim such works.[citation needed]

George Grosz’s younger son is jazz guitarist Marty Grosz.


  • My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. … I drew a man, face filled with fright, washing blood from his hands … I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket … I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry. — George Grosz [37]

See also[edit]


  1. Jump up^ The Progressive. Retrieved 2011-12-24 – via Google Books.
  2. Jump up^ “”. Retrieved 2011-12-24.
  3. Jump up^[dead link]
  4. Jump up^ “”. Hamburg: ZEIT ONLINE GmbH. 1955-01-27. Retrieved 2011-12-24.
  5. Jump up^ Grosz 1946, p. 22.
  6. Jump up^ Grosz 1946, pp. 24, 26.
  7. ^ Jump up to:a b c d Kranzfelder 2005, p. 92.
  8. ^ Jump up to:a b c Kranzfelder 2005, p. 15.
  9. Jump up^ The letter “ß” is called in German a “scharfes S” or “Eszett”, the latter meaning simply “SZ”. It was common usage at that time when typing to transcribe the ß as “sz”, so his choice of transcription was essentially a neutral phonetic rendering.
  10. Jump up^ Sabarsky 1985, p.250.
  11. Jump up^ Schmied 1978, p.29.
  12. Jump up^ Sabarsky 1985, p. 26. According to Sabarsky, no records can be found to substantiate the version of events described by Grosz in his autobiography, i.e., that he was accused of desertion and narrowly avoided execution.
  13. Jump up^ Kranzfelder 2005, p. 28.
  14. Jump up^ Nash, David S. (2007). Blasphemy in the Christian World: A History. Oxford: Oxford University Press. p. 112. ISBN9780199570751.
  15. Jump up^ [1]
  16. Jump up^ Kranzfelder 2005, pp. 54–55.
  17. Jump up^ Sabarsky 1985, pp. 33, 251.
  18. Jump up^ Kranzfelder 2005, p. 58.
  19. Jump up^ Kranzfelder 2005, p. 93.
  20. Jump up^ Kranzfelder 2005, p. 78.
  21. Jump up^ Grosz 1946, pp. 301–302.
  22. Jump up^ Kranzfelder 2005, p. 90-93.
  23. Jump up^ Kranzfelder 2005, p. 21.
  24. Jump up^ Kranzfelder 2005, p. 22.
  25. Jump up^ “Remember Uncle August the Unhappy Inventor”. Retrieved 2008-04-01.
  26. Jump up^ “George Grosz erotic artwork”. AMEA/World Museum of Erotic Art. Retrieved 2008-04-02.
  27. Jump up^ Grosz 1946, p. 276.
  28. Jump up^ Grosz 1946, p. 270.
  29. Jump up^ Michalsky 1994, pp. 35–36.
  30. ^ Jump up to:a b Joyce Wadler (August 27, 2001), The Heirs of George Grosz Battle His Dealer’s Ghost; A Protracted Lawsuit Outlives Its Target, But Not Its Anger New York Times.
  31. Jump up^ “George Grosz at The Heckscher Museum of Art”.
  32. Jump up^ “Thomas Constantine : The Second Acquirer Of George Grosz’s “Eclipse Of The Sun””.
  33. Jump up^ Genocchio, Benjamin (February 19, 2006). “George Grosz,Eclipse of the Sun, Heckscher Museum of Art”. The New York Times.
  34. Jump up^ Michalsky 1994, pp. 33, 100.
  35. Jump up^ Walker et al. 1988, p. 21.
  36. Jump up^ Robin Pogrebin (November 15, 2006), Met Won’t Show a Grosz at Center of a Dispute New York Times.
  37. Jump up^ Friedrich, Otto (1986). Before the Deluge. USA: Fromm International Publishing Corporation. pp. 37. ISBN 0-88064-054-5


  • Grosz, George (1946). A Little Yes and a Big No. New York: The Dial Press.
  • Kranzfelder, Ivo (2005). George Grosz. Cologne: Benedikt Taschen. ISBN 3-8228-0891-1
  • Michalski, Sergiusz (1994). New Objectivity. Cologne: Benedikt Taschen. ISBN 3-8228-9650-0
  • Sabarsky, Serge, editor (1985). George Grosz: The Berlin Years. New York: Rizzoli. ISBN 0-8478-0668-5
  • Schmied, Wieland (1978). Neue Sachlichkeit and German Realism of the Twenties. London: Arts Council of Great Britain. ISBN 0-7287-0184-7
  • ‘Peter M. Grosz,’ obituary of George Grosz’s son, New York Times, 7 October 2006.
  • Walker, B., Zieve, K., & Brooklyn Museum. (1988). Prints of the German expressionists and their circle: Collection of the Brooklyn Museum. New York: Brooklyn Museum. ISBN 0872731154

External links[edit]


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