Theo van DoesburgDutch, 1883–1931Double Self-portrait
May one see it?
Unknown: the museum keeps its counsel
Rijksmuseum
Amsterdam, Netherlands
The owner is known. Whether it is on view today, the museum does not say, and we were not trained to guess.
- Source
- The museum's own collection data
About the work
The celebrated photographer Lucia Moholy was thought to have made this double portrait as a preliminary study for later profile portraits. The date on the page and further investigation proved otherwise, however. It was ‘a snapshot taken in the sun’ by the artist couple themselves before they had even met Lucia: a Bauhaus photograph avant-la-lettre.
Rijksmuseum
Particulars
- Accession number
- RP-F-2003-101
What it shows
Sources
- Rijksmuseum: the museum's own open data · fetched 6 days ago
- Image: Rijksmuseum — © the artist or rights holder
Meanwhile, in the life of Theo van Doesburg
The whole life1916–1921 · Workplace
Leiden
1921–1924 · Workplace
Weimar
1922
Weimar: trying to win over Gropius
In 1922 van Doesburg moves to Weimar, hoping to impress the Bauhaus director Walter Gropius and to spread the influence of De Stijl. Gropius does not think he should become a Bauhaus master, so van Doesburg settles near the Bauhaus buildings and begins to attract students interested in Constructivism, Dadaism and De Stijl.
1922
Congresses of the International of Arts
Together with El Lissitzky and Kurt Schwitters, van Doesburg pioneers the efforts towards an International of Arts at two congresses, in Düsseldorf and Weimar.
1922
The Dada magazine Mécano under the name I. K. Bonset
During a brief infatuation with Dada van Doesburg publishes the Dada magazine Mécano; under the heteronym I. K. Bonset (possibly from the Dutch “Ik ben zot”, “I am foolish”) he also publishes Dada poetry in De Stijl. Under a second pseudonym, Aldo Camini, he publishes anti-philosophical prose inspired by Carlo Carrà.
July 1922 – August 1922 · Workplace
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