It may be that the photograph was not of Grosz himself but was chosen because of its resemblance to him, and that either Grosz or Hausmann afterwards inscribed it, perhaps ironically, with one of Grosz's stamps, suitably adapted. Mrs Vera Cohn, who knew Hausmann from to about , has suggested that the woman, whose photograph was also cut out of some magazine, was possibly an actress or film star of the period - by her type of hair style and make-up certainly not a member of Hausmann's circle - and that the shadowy silhouette could have been intended to signify the shadow of the bourgeoisie.
The background seems to be the right-hand half of one of Hausmann's phonetic poem-posters made to paste up on walls in Berlin, and the two rows of lettering on it legible in their entirety from the back read 'bcnokis ethnolu'.
The only two posters which are known to survive intact have very similar typography and are both printed on coloured paper , one like this on orange-brick paper and the other on green paper. Both measure This can be translated as 'Raoul Hausmann president of the sun, the moon and the little earth inner surface Dadasoph Dadaraoul, director of the Dada circus'. In an article in Der Dada No. Dada was an art movement formed during the First World War in Zurich in negative reaction to the horrors and ….
Main menu additional Become a Member Shop. Not on display. Artist Raoul Hausmann — Original title Der Kunstkritiker. Medium Lithograph and printed paper on paper. Collection Tate. Acquisition Purchased Reference T In , Hausmann met the violinist Elfride Schaeffer whom he married in following the birth of their daughter, Vera, a year earlier.
Viktor tutored his son until he entered formal scholastic training at the relatively late aged of 22 at Arthur Lewin-Funcke's Atelier for Painting and Sculpture, one of a number of private art studios in Berlin.
Attending between , he focused mostly on nude and anatomy drawing. He also experimented with typographical designs and assisted his father on a restoration project at Hamburg's City Hall in It was around this time that Hausmann made the acquaintance of the unconventional utopian architect Johannes Baader, a lifelong friend and future Dadaist collaborator.
Hausmann later described Baader as "the man who was necessary for Dada because there was nothing which could stop him once he got an idea into his head". Prior to the war, Germany had been alive with creative experimentation. But once the First World War had started in , German art entered a phase of cultural isolation and stagnation. However, being Austrian born, Hausmann avoided the draft and was thus relatively free to pursue his artistic interests as he saw fit.
He remained largely faithful to the expressionistic style associated with the Die Brucke group and also showed a keen interested in the work of Alexander Archipenko an artist much admired - as much as they were allowed to "worship" individual artists - by the Berlin Dadaists which was neither realistic nor idealistic. Hausmann had in fact cherished an early copy of Guillaume Apollinaire's foreword to Archipenko's solo exhibition at the Sturm Galleries in late in which Apollinaire stated that "Archipenko seeks above all the purity of forms.
He wants to find the most abstract, most symbolic, newest forms, and he wants to be able to shape them as he pleases". On leaving Lewin-Funcke's atelier, Hausmann fell under the influence of the painters Ludwig Meidner and Erich Heckel , the latter introducing him to the techniques of woodcutting and lithography. As the art historian Timothy O. Benson observed, Hausmann was "particularly close to the work of Heckel. A close friend, Hausmann was sketching and pulling prints in Heckel's studio during ".
Unlike Heckel, however, "whose attitude at this time has aptly been characterized as tragic", Hausmann had "been interested simply in experimenting with the formal elements of the Expressionists' vocabulary".
By now Hausmann had also started to compliment his painting experiments with a burgeoning career as a writer, publishing articles scolding the German arts establishment in Der Strum and Franz Pfemfert's left-wing, antimilitarist journal Die Aktion. The pair, who became lovers, forged a combustible personal and artistic partnership that lasted into the early s. Hausmann began to see himself in the role of the "new man" which would feed into the Berlin Dada philosophy.
Neumann's gallery in Berlin on January 22, ". His speech won over the movement's politically minded figures including Heartfield, Grosz, Herzfelde, and Jung. But Hausmann and Baader came to Dada by a non-political route and "were very much closer to Huelsenbeck's image of man as a container of pandemonium as he had expressed it in his essay, 'Der neue Mensch'".
Baader, the self-proclaimed "Oberdada" "Upper Dada" , and Hausmann, the "Dadasoph" "philosophical Dada" , embarked on a series of Dadaist turns together.
In , for instance, the pair founded Christus GmbH , its goal being to support conscientious objectors by likening them to Christian martyrs. A year later Baader staged a performance in the Berlin cathedral called " Christus ist euch Wurst " "Christ you're a sausage" which provoked a public outcry and saw him arrested for blasphemy.
An outraged Hausmann dispatched an angry letter to Berlin's Minister of Culture defending his friend's actions as an act of free speech. In what was is a somewhat circular argument amongst Dadaists, George Grosz had claimed that it was he and John Heartfield who had invented photomontage in in point of fact photomontage already had a commercial history dating back to the mids.
These images were part of an enterprise by which paying customers, by having their images superimposed on the figures of smartly uniformed soldiers, could create a seamless fantasy of living a heroic military life. As the art historian Jeanne Willette wrote: "Taking up the scissors or a razor blade and cutting carefully around a complex printed photograph was a mechanical act, requiring dexterity but denying the individual touch of the artist's hand and eliminating the aesthetic pleasures of painting with pigment and rebuking the senses that revelled in pleasure derived from traditional 'art'".
Waddell, New York May 9, Negative date: or later. The Metropolitan Museum of Art. San Francisco Museum of Modern Art. Los Angeles County Museum of Art. High Museum of Art. Museum of Fine Arts, Boston. Hambourg, Maria Morris. The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than , artworks in The Met collection.
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