The path he walks down glows with the colors yellow, orange, and pink showing elements of water and mud as it reflects the explosion echoing in the background.
The figure traversing the scene represents the artist Grosz, portrayed with a cane and white hair, indicating his age at the time of the painting.
[2] The landscape, with its watery expanses and tall grass to the left, intricately mirrors the geographical features of Grosz's studio location in Cape Cod.
[5] These two sketches were part of a portfolio collection of 64 drawings called Interregnum and published by the Black Sun Press in New York in response to Adolf Hitler's preparedness for war.
In this drawing, there are differences including Grosz painted from behind, the left hand holding a candle lamp, and the depiction of rain with the sun or moon in the background.
Nevertheless, some features in The Wanderer can still be seen including the cane held by Grosz's right hand, the path he walks on, the texture on his boots showing water, the long trench coat, and the tall grass to the right.
[7] The Wanderer was painted as a personal response to World War II and during a phase of Grosz's life when his perspective underwent a profound transformation, a shift that is distinctly evident in the composition.
"[8]In this line from the autobiography, Grosz states his emotions about the negative experiences he has had in Germany and at this point decides to leave his home country and life as a satirist.
The uniqueness of The Wanderer lies in its departure from the cartoonish aesthetic, abstaining from direct attacks, and portraying Grosz walking away as opposed to engaging in confrontation.