Dada,Van Doesburg and De Stijl

References to De Stijl are given in round brackets within the text of this article as follows: volume number, issue number, date of publication and pagination of the original edition (not that of the reprint).

J. Baljeu , Theo Van Doesburg (London, 1974 ) and K. Schippers , Holland Dada (Amsterdam , 1974) form notable exceptions to this statement.

Although Van Doesburg makes only minimal reference to Dada painting, the typographic layout of the Dada publications clearly made an impression on him, causing him to alter the format of De Stijl after 1920.

See: M.H.J. Schoenmaekets , Het nieuwe wereldbeeld and Beginselen der beeldende wisikunde (Bussum, 1916) . For a discussion of Dr Schoenmaekers's influence on and relationship with De Stijl, see: H.L.C. Jaffe , De Stijl (Amsterdam, 1956), 53-62.

Jaffe , De Stijl, 32.

Edited by K. Schippers , this appeared as I.K. Bonset , Nieuwe woordbeeldingen: De gedichten van Theo Van Doesburg ( Amsterdam, 1975). Hereafter referred to in the text of this article as Schippers plus the relevant pagination.

Suggested by J. Leering in Theo Van Doesburg [catalogue] ( Eindhoven, 1968/1969), 4.

See letter 545 (7 October 1888) in The Complete Letters of Vincent Van Gogh, iii (London, 1958), 66: "I have written to Gauguin in reply to his letter that if I might be allowed to stress my own personality in a portrait, I had done so in trying to convey in my portrait not only myself but an impressionist in general, had conceived it as the portrait of a bonze, a simple worshipper of the eternal Buddha." This letter was probably included in the first edition of Van Gogh's letters (1914-15), collated by Mrs Van Gogh-Bonger.

This is indicated by several unpublished post-cards from Van Doesburg to J. J. P. Oud, written in 1920-21.

Theo Van Doesburg , "Grootmeesters der beeldenden kunst II", Eenheid, no. 392 (8 December 1917 ).

Letter from Mondrian to Van Doesburg of 12 December 1917, De Stijl Archive.

For a full account of Eggeling's work, see: Louise O'Konor , Viking Eggeling 1880-1925 (Stockholm, 1971).

Reproduced in Richter on Richter, ed. by Cleve Gray (London, 1971), 113.

C. Gray (ed.), Richter on Richter, 112.

Hans Richter , Dada : Art and Anti-Art ( London, 1965 ), 62.

C. Gray (ed.), Richter on Richter, 112.

Richter, Dada: Art and Anti-Art, 77.

Quoted in C. Gray (ed.), Richter on Richter, 113.

For a discussion of this article and Eggeling's posthumous notes, see O'Konor , op. cit (ref. 12), 48-49 and 75-136.

Ibid., 80.

Hans Richter , "Step by Step", Form, no. 9 (April 1969), 23.

C. Gray (ed.), Richter on Richter, 134.

Anti-Holland manifestos by Bonset, some of which were subsequently published in Mécano, were to have been included in Tzara's anthology.

See Schippers , Holland Dada, 174.

Compare Robert Short's article below on Paris Dada and Surrealism.

Van Doesburg refers to Procellaria in a post-card to J. J. P. Oud of 28 May 1920 (private collection) and his connection with Bleu may have arisen through his contact with the earlier magazine.

Like the I. K. Bonset pseudonym, Aldo Camini may involve a play on words. Baljeu suggests that 'Aldo' means 'old' and that 'Camini' is a corruption of "L'Uomo che sa camminare da se" from Papini's Il Discorso di rima (1913). Furthermore, 'Cammini' with two letters m is the third person form of 'camminare' ('to go'). Thus, the hidden meaning of Aldo Camini may be "the old goes".

Theo Van Doesburg , "Schoonheids — en liefde mystiek", Het Getij (I July 1918), 181.

The play Les Chants de la mi-mort was written by de Chirico's brother, Andrea (Alberto Savinio) and published in Les Soirées de Paris, no. 26/27 (July/August 1914), 414.

See: Edouard Roditi , "Hannah Höch und die Berliner Dadaisten " [interview], Der Alonat, no. 134 (November 1959),60-68; translated in extract in Dadas on Art, edited by Lucy Lippard (Englewood Cliffs, N. J., 1971), 68-69. Here, Hannah Höch tells us that Hausmann's circle in Berlin was briefly influenced by the work of Italian metaphysical painters, particularly de Chirico.

For a discussion of the development of Schwitters' early work, see: John Elderfield , "The Early Work of Kurt Schwitters", Artform, x, no. 3 (November 1971 ), 54-67.

Post-card date-stamped 7 August 1921, reprinted in Schippers, Holland Dada, 146.

Raoul Hausmann , Courrier Dada (Paris, 1958), 111.

The other two related collages are both in the De Stijl Archive (Meudon). One (untitled) appears to be an early 'pull' from one of Schwitters's six lithographs produced in The Hague in early 1923 during the Dada-Tournées. In the other, entitled "Réconstruction" (Figure 2), Van Doesburg again uses cuttings from a catalogue of office equipment.

Translated by Hannah Hedrick, The Structurist, no. 9 (1969), 85.

Laszlo Moholy-Nagy , Vision in Motion (Chicago , 1947), 315. Moholy-Nagy's involvement with Berlin Dada still awaits detailed examination. He participated in the Dusseldorf and Weimar conferences as a member of the MA group. He arrived in Berlin during winter 1919/1920 and appears to have met Hausmann and Höch and been temporarily influenced by their work. He also met Schwitters and, for a brief time in 1921, shared a studio with him.

Tzara's lecture was subsequently published in Merz, no. 7 (January 1924). For an English translation, see: Robert Motherwell , The Dada Painters and Poets (New York, 1951), 246-51 and Tristan Tzara , Seven Dada Manifestos and Lampisteries, translated by Barbara Wright (London, 1977), 107-12.

Lyonel Feininger , letter to Julia Feininger of 7 September 1922, in: Lyonel Feininger , edited by June Ness ( London, 1975), 122-3.

"Ik heb nu een mooie verzameling copie, origineele teekeningen enz. van hun in mijn bezit en doe alle mogelijke pogingen daarmeê een bescheiden blaadje, dat ik 'MECHANO' [sic] zou willen noemen, uit te geven." Quoted in Schippers, Holland Dada, 174.

Working in Cologne 1919-20, Arp, Ernst and Johannes Baargeld produced Bulletin D and Die Schammade. Both magazines are in Van Doesburg's collection. Works produced by the three Cologne Dadaists in collaboration were exhibited in Paris in the Sans Pareil Gallery from 3 May to 3 June 1921 and Van Doesburg just missed this exhibition when he visited Paris.

See : Jordaan , "Dada in Amsterdam", Het Leven (27 January 1923), reproduced in Schippers, Holland Dada, 80-82.

Merz, no. I (January 1923), 7-8.

Subsequently published in Merz, no. I, 16 and Merz, no. 2 (April 1923), 27-31.