Otto Dix worked in the same Weimar era German Expressionist tradition as Grosz, producing deeply critical ink and pen drawings depicting crime, violence, and social decay with a similarly dark and unflinching figurative style.

Kollwitz shared Grosz's commitment to social commentary through figurative drawing, using expressive linework to depict poverty, injustice, and human suffering in early twentieth century Germany with comparable emotional intensity.

Kirchner produced sepia and ink pen drawings with strong Expressionist qualities depicting urban social scenes and dark psychological narratives, closely paralleling the narrative figurative style and critical mood found in this specific Grosz work.