Daum marries her pedantic automaton George in May 1920, John Heartfield is very glad of it.
(trad. Daum sposa il suo pedante automa George nel Maggio 1920, John Heartfield è veramente felice di ciò.) 1920.
Aquerello e collage. cm. 42 x 30.2
Galerie Nierendorf, Berlino, Germania.
Estratto da George Grosz. Mit Pinsel und Schere: 7 Materialisationen (Pennello e forbici: 7 materializzazioni). Berlin: Malik Verlag, 1922
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| George Grosz, come Jack the Ripper, in alto a sinistra, con Eva Peter nello studio dell'artista, 1918 |
George Grosz fece questo collage in occasione del suo matrimonio con Eva Peter; doveva servire da invito alle nozze. Daum era l’anagramma di Maud, il vezzeggiativo con cui Grosz chiamava Eva.
Questa è la descrizione dell’immagine redatta dai curatori della Berlinische Galerie, depositari dell’opera, datata 1920: “Daum is an anagram of Maud, the name that George Grosz gave to his girlfriend, and later wife, Eva Peter. The title of the picture refers to te marriage of this obiouvsly highly unsuited couple. Only scantily clad, with her natural corporeality still quite visible, Daum stands next to George, an automaton assembled from body and machine parts. He shows no interest whatsoever in the motionless mechanical being. Vital sensuality and emotionality versus cool, mechanical functionality, this contrast is emphasized through the conflict between the traditional technique used to depict the soft, rounded forms of the young woman and the montage of materials from which the bridegroom is made up".
Questa è la descrizione dell’immagine redatta dai curatori della Berlinische Galerie, depositari dell’opera, datata 1920: “Daum is an anagram of Maud, the name that George Grosz gave to his girlfriend, and later wife, Eva Peter. The title of the picture refers to te marriage of this obiouvsly highly unsuited couple. Only scantily clad, with her natural corporeality still quite visible, Daum stands next to George, an automaton assembled from body and machine parts. He shows no interest whatsoever in the motionless mechanical being. Vital sensuality and emotionality versus cool, mechanical functionality, this contrast is emphasized through the conflict between the traditional technique used to depict the soft, rounded forms of the young woman and the montage of materials from which the bridegroom is made up".
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