In accordance with a policy of exhibiting whenever possible the works of the foremost modern German artists, there will be a collection of watercolors and drawings by George Gosz on display at the Germanic Museum beginning today and continuing until December 22.

Gosz, who is considered to be the foremost artist of the modern German school, came to America from Germany in 1932, not an a political refugee, however, and is at present teaching at the Art Students League in New York. In his works he shown himself with great emphasis to be a social satirist, pacifist, radical, and an ant-Nazist, and before coming to America he was extremely bitter in portraying German life, especially the bourgeoisie class. Since his departure from his native land, however, he has become much milder in his treatment of subjects, perhaps because he has not yet learned American life and customs well enough to bring forth the full fury of his biting satire.

In the works as a whole, Gosz has little interest in merely being realistic, but attempts by little details here and there to bring out forcibly a definite impression and mood from his sketch. He continually makes use of great splashed of bright color especially blue, red, and orange, and these brilliant hues serve well to show the ferocity, horror, or garishness of his picture.

Among the paintings, an "Impression of New York Harbour" is very interesting. In this he catches all the bustle of the busy port with its many types of boats, the dinginess of the smoky atmosphere through which the sun burns with a yellow glow, and the towering height of the skyscrapers. In a "Winter Scene" he portrays the dreariness of a tenement district when everything is covered with grey sooty snow. The most forceful picture of all is a war scene showing three men in the foreground, the first of whom is lieing on the ground with a huge bloody wound, while the second is about to drive a bayonet through the back of the third as he strives to get-away. This is entitled "Brotherly Love."

The drawings are of even more interest. There are two which form a series, the first being called "Twenty Pounds Too Much." This shows an enormously fat, repulsive woman in a luxurious boudoir being massaged by a main. The second, "Twenty Pounds Too Little," pictures a woman, who, from lack of food, has become almost a skeleton, lying on a bare mattress in an underground squalid room, while sitting about her are her husband and little son. On a table by the bed are two empty food bowls.

The masterpiece of the collection is the drawing, "Once Upon A Time." It is a simple sketch of a woman, aged and wrinkled by care and hard work, sitting with hands folded in her lap in a bare tenement room which looks out upon factories and smokestacks. Her face has a far-away expression and every detail of it and of her eyes are so well and carefully done that it is almost possible to see the nearly-forgotten happy memories which are thronging her brain. There are indeed few artists today who could equal the feeling and pathos of this picture.