The aim of this paper is to investigate the relationship of the Berlin-based artist George Grosz and the eclectic poet and art critic Theodor Däubler with reference to their mutual interest in Italian modern art, from Futurism to Metafisica. Through the prism of their interaction, it is possible to follow the double fortune of Metafisica in Berlin in the year 1920 thanks to the intricate network of contacts and collaborations that, mostly through art magazines, facilitated the circulation of images by de Chirico and Carrà as part of a shared international visual culture, open to multiple stylistic and ideological interpretations.
Carlotta Castellani, “‘Dada Marshall and Propagandada’ George Grosz and ‘Metapolitiker’ Theodor Däubler: Metafisica and Politics in Berlin, 1920,” in Erica Bernardi, Antonio David Fiore, Caterina Caputo, and Carlotta Castellani (eds.), Metaphysical Masterpieces 1916–1920: Morandi, Sironi, and Carrà, monographic issue of Italian Modern Art, 4 (July 2020)
Carlotta Castellani
Writing – Original Draft Preparation
2020
Abstract
The aim of this paper is to investigate the relationship of the Berlin-based artist George Grosz and the eclectic poet and art critic Theodor Däubler with reference to their mutual interest in Italian modern art, from Futurism to Metafisica. Through the prism of their interaction, it is possible to follow the double fortune of Metafisica in Berlin in the year 1920 thanks to the intricate network of contacts and collaborations that, mostly through art magazines, facilitated the circulation of images by de Chirico and Carrà as part of a shared international visual culture, open to multiple stylistic and ideological interpretations.File in questo prodotto:
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