Lewis writes: "While earlier works are sharply outlined satires of darkening German politics, Grosz adopted a style for the Dallas series that's thrilled to be dancing, dressing up, and falling for its subject matter. The watercolor forms of Dallas Broadway (1952) look uncannily lucid; the city's writhing neon street signs melt into the hustle on the streets. (That the painting could be any city center is only a minor impediment.) Dallas Skyline (1952) introduces a peppy coming-of-age postcard with protracted blue sky... The buildings in the painting really are that color, and Pegasus still flies at the heart of the city, a tiny Shetland pony among skyscrapers."
In the exhibited drawings, Benway writes, "both skill and rectitude are physical characteristics. Resigned pigs are carted to slaughter by equally resigned laborers; the images are as concerned with the drama of small-scale murder as with the correct positioning of the bucket that catches the blood. This may be partly due to Grosz's use of the reed pen, an instrument often used for calligraphy, which he applies here to delineate the force of muscles at work, and equipment well-used, with forceful yet delicate strokes. Though bodies are plentiful and expressive in the drawings, Grosz's usual eroticism is absent; the forms depict character rather than voluptuous desire."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.