[1] Those satirical works include Persil-Hitler (1933),[2] The Nazis Are Here (1933), Attack (1932), Street Fighting (1932)[3] and At the Sign of the Swastika (1934),[4] putting him alongside John Heartfield, Hans and Lea Grundig, Johannes Wüsten, Otto Pankok, Alfred Frank and Eva Schulze-Knabe as major resistance artists.
He also became friends with the painter Alfred Ahner in Weimar and in 1931 joined the "Rote Einheit" (Red Unity) Communist artists' collective.
In 1936, after restrictions placed upon him by the SA and the Nazi Party, he moved in with his aunt Hedwig Rücker in Ulrichshalben near Weimar, where he renounced direct political activity, supported himself through odd jobs and other means and met the artists Lyonel Feininger, Wassily Kandinsky and Oskar Kokoschka.
His first surviving work dates to 1929, showing big-city cafe culture, street scenes and the rise of the SA's reign of terror.
[12] He stated: The influence of George Grosz, Rudolf Schlichter and Karl Arnold on my drawings and etchings was definitive - I don't think it's plagiarism, but a question of the generation to which I belong.
His 1936 move to Ulrichshalbe and renunciation of direct political activity gave him relative personal safety but meant his work from then on was created in isolation, without an art scene promoting it and without advice, criticism or rejection.
Writer Wolfgang Thiede later wrote of Voigt that he was: one of the very few artists who continued with figurative-political art in Nazi Germany, and by whom there are not only one or two works on the reality of German life between 1933 and 1945, but whose entire oeuvre (with its exquisite mixture of analysis, the will to survive and sexism) is a satirically interwoven, biting commentary on the era.