It wasn't that painting would have been a release to Dix, the reason for doing it, was his desire to create. He had to do it. Because he felt as he had seen it and still could remember it he had to paint it. As time went on people were already beginning to forget, what horrible suffering the war had brought them. But Dix did not want to cause fear, panic or remembrance, but to let people know how dreadful war is and so to stimulate people's powers of resistance through his work, so the war would not start again. .
George Grosz born in 1893 and died in 1959 was known as a principal artist who was associated with objectivity. As Grosz style at points touched people briefly but also had essentially different motivations. Amusement parks and the circus fascinated Grosz, and he particularly loved clowns. He saw them as playing the same tragic drama role that the artists were forced to act upon on a boundless society. He anticipated the far in advance the dishonesty and shock of World War I as well as the change in art and society brought by the chaos of 1918. With regard to content, Grosz's paintings depicted Modern City life with its desire, passions, and crimes. For Grosz, the chaos of the big city reflected the amorality of man. His basic attitude was totally despairing. By disregarding the laws of perspective, Grosz's paintings represented a world falling into pieces. The sexual sharpness in his drawings matched the perverted knowledge of a well-developed youth. Despite his dislike for anything romantic, one cannot fail to notice rather lovely moons and stars shining above city streets. In 1918 Grosz returned to Berlin even more convinced of society's insanity. At that time he made violently anti-war drawings, and drawings and paintings attacking the social abandon of Germany, including capitalists, prostitutes, the Prussian military caste and the middle class. In fact, Grosz considered himself a propagandist of the social rebellion.
