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By William S. Rubin

Illustrated survey of the nice routine of Dada and Surrealism, describing their beginning and improvement, their philosophies, the artworks they produced, and their contribution to the paintings of the current.

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1920. Oil on canvas, 41* - 4 ! r' - inches. Collection Dr. G. Schaufelberger, Wiirenlos, Switzerland 8 JEAN (hans) arp. Portrait of Tzara. (1916). Painted wood 45 1 y { 1 1 1 1 2 that they personify beings life. The dread of our things is relief, made and embody passions larger than background of times, the paralyzing my art anticipating the injormel (fig. 44), which had its roots painters. work of other Dadaist personal association with the movement His brief encouraged the radicality of distinctive effect on in the his explorations but his style.

Amazement Hallelujah boy, boy marry drop of A water pipe drips uninhibited monotony. Eight. 62 Schwitters' ideas for the 3/erz-stage remained in the realm of theory. Although they represent the boundaries that exist among his urge to erase the arts, he himself felt that they were unrealizable. In 1923 he began to develop his ideas for a Xormalbiihne Merz, which lacked the radi- cally of the 3/erz-stage but for which he conceived a space stage in which the machinery constituted part of the visible aesthetic of the event (fig.

1919-1920). Oil on cardboard, 56' b> 4c 1 l' inches. Estate of Jean TCyRN*^r£ (Hans) Arp francis picabia. rnante (1922). Watercolor, 28' 28 2 v" 28 . - inches. Collection Mmc Simone Collinet. Paris - 29 (c. 922). W'atercolor, 28V8X23V8 Andre Napier. Neuilly-sur-Seine, France francis picabia. Optophone, inches. Collection 1 30 jasper johns. Target with Plaster Casts. 1955. Encaustic and collage on canvas with plaster casts, Mrs. Leo Castelli, 29 New York 5 1 - 44 inches. Collection Mr. and 3 1 man ray.

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