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Yves Klein (April 28, 1928 – June 6, 1962) (see Neo-Dada) Hans Leybold (April 2, 1892 – September 8, 1914) Filippo Tommaso Marinetti (December 22, 1876 – December 2, 1944) Agnes Elizabeth Ernst Meyer (1887 – 1970) Pranas Morkūnas (October 9, 1900 – December 28, 1941) Clément Pansaers (May 1, 1885, – October 31, 1922)
According to Naumann, Alfred Stieglitz was unquestionably "the individual most responsible for the introduction of modern art to America." [6] An active artist, primarily a photographer, as well as activist in the service of modern art, Stieglitz provided an avenue for the thought and work of the proto-Dada artists as well as the Dada artists ...
This was the beginning of his lifelong involvement in art dealing and collecting. The group collected modern art works, and arranged modern art exhibitions and lectures throughout the 1930s. By this time Walter Pach, one of the coordinators of the 1913 Armory Show, sought Duchamp's advice on modern art. Beginning with Société Anonyme, Dreier ...
Dada (sometimes called Dadaism) is a post-World War I cultural movement in visual art as well as literature (mainly poetry), theatre and graphic design.The movement was a protest of the barbarism of the war; its works were characterized by a deliberate irrationality and the rejection of the prevailing standards of art.
Raoul Hausmann (July 12, 1886 – February 1, 1971) was an Austrian artist and writer. One of the key figures in Berlin Dada, his experimental photographic collages, sound poetry, and institutional critiques would have a profound influence on the European Avant-Garde in the aftermath of World War I.
From Expressionism through Dadaism, Constructivism and Neoplasticism, he was one of the major figures of avant-garde art in the 1910s and 1920s [3] and a catalyst for intellectuals and artists in many disciplines. Richter helped organise exhibitions which revived interest in Dada, both in the United States and Europe.
Kate T. Steinitz: art into life into art : a retrospective of the life and work of one of the most diverse Bauhaus and Dada artists. Irvine, Calif: The Museum. Kate Steinitz: Art and Collection: Avant-Garde Art in Germany in the 1920s and 1930s. San Bernardino, CA: The Art Gallery, California State College San Bernardino, April 10 - May 14, 1982.
The artists were determined to counteract the more conservative Karlsruhe art scene with their works, which could be assigned at the time to Expressionism or Dadaism. The group made provocative statements and actions; for example, phallic symbols drawn with chalk on the walls of the house pointed the way to the exhibition space. [ 4 ]