ID: 26908
Omschrijving
Fotolitho naar de foto van Raoul Hausmann afkomstig uit het gelimiteerde portfolio uitgegeven door Schirmer/Mosel in 1989.
Kunstenaar - Raoul Hausmann (Oostenrijk/Duitsland, 1886-1971)
Titel - Frauennacken (Vrouwennek)
Jaartal - 1989
Afmetingen - ca. 38 cm x 28 cm
Techniek - fotolitho op 250 grams kwaliteitspapier
Naamgeving - getiteld in de druk
Druk - Kirchner & Graser, Berlin; Appl, Wemding
Uitgave - Schirmer/Mosel, München
Passe partout - kan desgewenst geleverd worden in een passe partout van museumkwaliteit
Conditie - in zeer goede staat
Raoul Hausmann (Vienna, 1886 - Limoges, 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. After seeing Expressionist paintings in Herwarth Walden\'s gallery Der Sturm in 1912, Hausmann started to produce Expressionist prints in Erich Heckel\'s studio, and became a staff writer for Walden\'s magazine, also called Der Sturm, which provided a platform for his earliest polemical writings against the art establishment. In keeping with his Expressionist colleagues, he initially welcomed the war, believing it to be a necessary cleansing of a calcified society, although being an Austrian citizen living in Germany he was spared the draft. Hausmann met Hannah Höch in 1915, and embarked upon an extramarital affair that produced an \'artistically productive but turbulent bond\' that would last until 1922. In 1916 Hausmann met two more people who would become important influences on his subsequent career; the psychoanalyst Otto Gross who believed psychoanalysis to be the preparation for revolution, and the anarchist writer Franz Jung. When Richard Huelsenbeck, a 24-year-old medical student who was a close friend of Hugo Ball and one of the founders of Dada, returned to Berlin in 1917, Hausmann was one of a group of young disaffected artists that began to form the nucleus of Berlin Dada around him. Huelsenbeck delivered his \'First Dada Speech in Germany\', January 22, 1918 at the fashionable art dealer IB Neumann\'s gallery, Kurfürstendamm Berlin. Over the course of the next few weeks, Hausmann, Huelsenbeck, George Grosz, John Heartfield, Jung, Höch, Walter Mehring and Baader started the Club Dada.
The call for new materials in painting bore fruit later the same year when Hausmann and Höch holidayed on the Baltic Sea. The guest room they were staying in had a generic portrait of soldiers, onto which the patron had glued photographic portrait heads of his son five times. \"It was like a thunderbolt: one could I saw it instantaneously make pictures, assembled entirely from cut-up photographs. Back in Berlin that september, I began to realize this new vision, and I made use of photographs from the press and the cinema\" (Hausmann, 1958). The photomontage became the technique most associated with Berlin Dada, used extensively by Hausmann, Höch, Heartfield, Baader and Grosz, and would prove a crucial influence on Kurt Schwitters, El Lissitsky and Russian Constructivism. It should also be pointed out that Grosz, Heartfield and Baader all laid claim to having invented the technique in later memoirs, although no works have surfaced to justify these claims. At the same time, Hausmann started to experiment with sound poems he called \'phonemes\' and \'poster poems\', originally created by the chance lining up of letters by a printer without Hausmann\'s direct intervention. Later poems used words which were reversed, chopped up and strung out, then either typed out using a full range of typographical strategies, or performed with boisterous exuberance. Schwitters\' Ursonate was directly influenced by a performance of one of Hausmann\'s poems, \'fmsbwtazdu\', at an event in Prague in 1921.
At the beginning of 1920, Baader, \'President of All The World\', Hausmann, \'the Dadasopher\', and the \'World-Dada\' Huelsenbeck undertook a six-week tour of Eastern Germany and Czechoslovakia, drawing large crowds and bemused reviews. Also in 1920 Grosz, Heartfield and Hausmann organised \'The First International Dada Fair\'. The fair was to become the most famous of all Berlin Dada\'s exploits, featuring almost 200 works by artists including Francis Picabia, Hans Arp, Ernst and Rudolf Schlichter, as well as key works by Grosz, Höch and Hausmann. The exhibition, whilst financially unsuccessful, gained prominent exposure in Amsterdam, Milan, Rome and Boston. The exhibition also proved to be one of the main influences on the content and layout of Entartete Kunst, the show of degenerate art put on by the Nazis in 1937, with key slogans such as \"Nehmen Sie DADA Ernst\", \"Take Dada Seriously!\", appearing in both exhibitions.
Neem voor meer informatie gerust even contact op.
Heeft u interesse in andere kunstwerken? Kijk dan eens bij robART voor veel meer aanbiedingen door te klikken op \'bekijk meer/alle advertenties\'.
ALGEMENE VOORWAARDEN
Authenticiteit
Alle aangeboden items zijn aangekocht op officiële kunstveilingen of rechtstreeks bij de betreffende kunstenaar. Het zijn dus allemaal originele en veilingwaardige kunstwerken waarbij de nadruk ligt op grafiek en fotografie. Offset prints worden alleen aangeboden als het originele affiches of limited edition prints betreft.
Conditie
De conditie van het betreffende item staat in iedere advertentie omschreven. Aangezien sommige items vele tientallen en soms zelfs honderden jaren oud zijn, kunnen deze vanzelfsprekend ook enige leeftijd gerelateerde ouderdomssporen bevatten. Wat betreft de advertentiefoto\'s kunnen er om technische redenen lichte kleurverschillen bestaan met het origineel.
Prijs
Vanwege een aanstaande verhuizing worden veel items aangeboden met extra korting!
Bij sommige aangeboden werken zit er meer rek in de prijs dan bij andere, maar biedingen lager dan 75% van de vraagprijs zullen doorgaans niet in behandeling genomen worden. Als kunstverzamelaars hebben we van ieder werk slechts 1 exemplaar, dus op is op!
Verzending
Items worden zeer zorgvuldig en stevig verpakt. De verzendkosten binnen Nederland bedragen de pakketkosten van PostNL waarbij u zelf kunt kiezen uit de beschikbare pakketten. Ophalen is vanzelfsprekend ook mogelijk op afspraak.
Kunstenaar - Raoul Hausmann (Oostenrijk/Duitsland, 1886-1971)
Titel - Frauennacken (Vrouwennek)
Jaartal - 1989
Afmetingen - ca. 38 cm x 28 cm
Techniek - fotolitho op 250 grams kwaliteitspapier
Naamgeving - getiteld in de druk
Druk - Kirchner & Graser, Berlin; Appl, Wemding
Uitgave - Schirmer/Mosel, München
Passe partout - kan desgewenst geleverd worden in een passe partout van museumkwaliteit
Conditie - in zeer goede staat
Raoul Hausmann (Vienna, 1886 - Limoges, 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. After seeing Expressionist paintings in Herwarth Walden\'s gallery Der Sturm in 1912, Hausmann started to produce Expressionist prints in Erich Heckel\'s studio, and became a staff writer for Walden\'s magazine, also called Der Sturm, which provided a platform for his earliest polemical writings against the art establishment. In keeping with his Expressionist colleagues, he initially welcomed the war, believing it to be a necessary cleansing of a calcified society, although being an Austrian citizen living in Germany he was spared the draft. Hausmann met Hannah Höch in 1915, and embarked upon an extramarital affair that produced an \'artistically productive but turbulent bond\' that would last until 1922. In 1916 Hausmann met two more people who would become important influences on his subsequent career; the psychoanalyst Otto Gross who believed psychoanalysis to be the preparation for revolution, and the anarchist writer Franz Jung. When Richard Huelsenbeck, a 24-year-old medical student who was a close friend of Hugo Ball and one of the founders of Dada, returned to Berlin in 1917, Hausmann was one of a group of young disaffected artists that began to form the nucleus of Berlin Dada around him. Huelsenbeck delivered his \'First Dada Speech in Germany\', January 22, 1918 at the fashionable art dealer IB Neumann\'s gallery, Kurfürstendamm Berlin. Over the course of the next few weeks, Hausmann, Huelsenbeck, George Grosz, John Heartfield, Jung, Höch, Walter Mehring and Baader started the Club Dada.
The call for new materials in painting bore fruit later the same year when Hausmann and Höch holidayed on the Baltic Sea. The guest room they were staying in had a generic portrait of soldiers, onto which the patron had glued photographic portrait heads of his son five times. \"It was like a thunderbolt: one could I saw it instantaneously make pictures, assembled entirely from cut-up photographs. Back in Berlin that september, I began to realize this new vision, and I made use of photographs from the press and the cinema\" (Hausmann, 1958). The photomontage became the technique most associated with Berlin Dada, used extensively by Hausmann, Höch, Heartfield, Baader and Grosz, and would prove a crucial influence on Kurt Schwitters, El Lissitsky and Russian Constructivism. It should also be pointed out that Grosz, Heartfield and Baader all laid claim to having invented the technique in later memoirs, although no works have surfaced to justify these claims. At the same time, Hausmann started to experiment with sound poems he called \'phonemes\' and \'poster poems\', originally created by the chance lining up of letters by a printer without Hausmann\'s direct intervention. Later poems used words which were reversed, chopped up and strung out, then either typed out using a full range of typographical strategies, or performed with boisterous exuberance. Schwitters\' Ursonate was directly influenced by a performance of one of Hausmann\'s poems, \'fmsbwtazdu\', at an event in Prague in 1921.
At the beginning of 1920, Baader, \'President of All The World\', Hausmann, \'the Dadasopher\', and the \'World-Dada\' Huelsenbeck undertook a six-week tour of Eastern Germany and Czechoslovakia, drawing large crowds and bemused reviews. Also in 1920 Grosz, Heartfield and Hausmann organised \'The First International Dada Fair\'. The fair was to become the most famous of all Berlin Dada\'s exploits, featuring almost 200 works by artists including Francis Picabia, Hans Arp, Ernst and Rudolf Schlichter, as well as key works by Grosz, Höch and Hausmann. The exhibition, whilst financially unsuccessful, gained prominent exposure in Amsterdam, Milan, Rome and Boston. The exhibition also proved to be one of the main influences on the content and layout of Entartete Kunst, the show of degenerate art put on by the Nazis in 1937, with key slogans such as \"Nehmen Sie DADA Ernst\", \"Take Dada Seriously!\", appearing in both exhibitions.
Neem voor meer informatie gerust even contact op.
Heeft u interesse in andere kunstwerken? Kijk dan eens bij robART voor veel meer aanbiedingen door te klikken op \'bekijk meer/alle advertenties\'.
ALGEMENE VOORWAARDEN
Authenticiteit
Alle aangeboden items zijn aangekocht op officiële kunstveilingen of rechtstreeks bij de betreffende kunstenaar. Het zijn dus allemaal originele en veilingwaardige kunstwerken waarbij de nadruk ligt op grafiek en fotografie. Offset prints worden alleen aangeboden als het originele affiches of limited edition prints betreft.
Conditie
De conditie van het betreffende item staat in iedere advertentie omschreven. Aangezien sommige items vele tientallen en soms zelfs honderden jaren oud zijn, kunnen deze vanzelfsprekend ook enige leeftijd gerelateerde ouderdomssporen bevatten. Wat betreft de advertentiefoto\'s kunnen er om technische redenen lichte kleurverschillen bestaan met het origineel.
Prijs
Vanwege een aanstaande verhuizing worden veel items aangeboden met extra korting!
Bij sommige aangeboden werken zit er meer rek in de prijs dan bij andere, maar biedingen lager dan 75% van de vraagprijs zullen doorgaans niet in behandeling genomen worden. Als kunstverzamelaars hebben we van ieder werk slechts 1 exemplaar, dus op is op!
Verzending
Items worden zeer zorgvuldig en stevig verpakt. De verzendkosten binnen Nederland bedragen de pakketkosten van PostNL waarbij u zelf kunt kiezen uit de beschikbare pakketten. Ophalen is vanzelfsprekend ook mogelijk op afspraak.