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Max Ernst was born in Brühl south of Cologne, Germany, the third of nine children of a middle-class Catholic family. His father Philipp was a teacher of the deaf and an amateur painter, a devout Christian and a strict disciplinarian.
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)
Hans Johannes Siegfried Richter (/ ˈ r ɪ k t ər /; German: [ˈʁɪçtɐ]; 6 April 1888 – 1 February 1976) was a German Dada painter, graphic artist, avant-garde film producer, and art historian. In 1965 he authored the book Dadaism about the history of the Dada movement.
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. It began in Zürich, Switzerland, in 1916, and spread to Berlin shortly thereafter. [33] To quote Dona Budd's The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of World War I.
Man Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in Paris.He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal.
In 1916 Hugo Ball opened the Cabaret Voltaire, which was to become the centre of Dada activities in Zürich for a group that included Arp, Marcel Janco, Tristan Tzara, and others. [9] In 1920, as Hans Arp, along with Max Ernst and the social activist Alfred Grünwald, he set up the Cologne Dada group.
Typical Vertical Mess as Depiction of the Dada Baargeld (1920) Johannes Theodor Baargeld was a pseudonym of Alfred Emanuel Ferdinand Grünwald (9 October 1892 – 16 or 17 August 1927), a German painter and poet who, together with Max Ernst, founded the Cologne Dada group. He also used the name Zentrodada in connection with Dada.
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.