William Gropper

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Gropper, William (1897–1977). American graphic artist and painter. He was born in New York into a poor family (his father was a sweatshop garment worker), but he saved enough money from various menial jobs to study under George Bellows and Robert Henri at the Ferrer School, New York, 1912–13, and then at the National Academy of Design, 1913–14, and the New York School of Fine and Applied Art, 1915–18. In 1920 he joined the staff of the New York Herald-Tribune as a cartoonist, but he was soon dismissed because of his left-wing political sympathies and then worked as a freelance cartoonist, contributing to fashionable periodicals such as Vanity Fair as well as radical publications such as The New Masses. His Communist sympathies led him to make a lengthy visit to the USSR in 1927, during which he worked for the Party newspaper Pravda in Moscow; the following year he published a book entitled Fifty-Six Drawings of the USSR. He had begun painting in 1921 and in 1936 had his first one-man show at the ACA Gallery in New York. In the late 1930s he also painted several murals under the auspices of the Federal Art Project. His paintings were closely related to his caricatures in subject and style; he was concerned with exposing social injustice, sympathizing with the downtrodden and attacking businessmen and politicians in a formally simplified, satirical manner bordering on Expressionism (he has been called ‘the Expressionist Daumier'). His best-known painting is probably The Senate (MOMA, New York, 1935). In his later years he moved from satire to themes of broader social concern, his work taking on a more spiritual feeling. He was the recipient of many awards.

Gropper, William (b New York, 3 Dec. 1897; d Manhasset, Long Island, NY, 6 Jan. 1977). American graphic artist and painter. In 1920 he joined the staff of the New York Herald Tribune as a cartoonist, but he was soon dismissed because of his left-wing political sympathies and then worked as a freelance cartoonist, contributing to fashionable periodicals such as Vanity Fair as well as radical publications such as The New Masses. His Communist sympathies led him to make a visit to the USSR in 1927, during which he worked for the Party newspaper Pravda in Moscow; the following year he published a book entitled Fifty-Six Drawings of the USSR. His paintings were closely related to his caricatures in subject and style; he was concerned with exposing social injustice, sympathizing with the downtrodden, and attacking businessmen and politicians in a formally simplified, satirical manner bordering on Expressionism (he has been called ‘the Expressionist Daumier’). His best-known painting is probably The Senate (1935, MoMA, New York). In his later years he moved from satire to themes of broader social concern, his work taking on a more spiritual feeling.

William Gropper 1897–1977, American painter and cartoonist, b. New York City. Gropper studied painting under Henri and Bellows. Employed as cartoonist by the New York Tribune, he went to work for the Rebel Worker in 1919. He became a leading painter of the 1920s and 30s, his works being primarily concerned with social responsibilities and class inequalities. Gropper is also known for his murals, such as those in the Dept. of the Interior Building, Washington, D.C. The Senate (Mus. of Modern Art, New York City) is characteristic of his bold, satiric style.

Bibliography: See study by A. L. Freundlich (1968).