
Peut-on la contempler ?
Amsterdam, Pays-Bas
Le propriétaire est connu. Si elle est exposée aujourd’hui, le musée ne le dit pas, et l’on ne nous a pas appris à deviner.
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 Amsterdam
1916–1921 · Lieu de travail
Leiden
1921–1924 · Lieu de travail
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.
juillet 1922 – août 1922 · Lieu de travail
Rügen