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Two Glimpses of the Baroness Two Glimpses of the Baroness the Armory Show at the time? There is no indication of that or of her having met Duchamp at the scene of his earliest and greatest American successes. Meeting Duchamp then, and Klaus Martens witnessing the scandal involving the Frenchman and his painting Nude Descending a Staircase, might indeed have Recent else von freytag-loringhoven (EFL) research has caused her to turn towards an art more experimental than that increasingly focused on her role as an independent actor on the 1 which she had known as Felix Paul Greve's (FPG) companion. literary stage of New York between, roughly, 1918 and 1923. We do know for certain that Freytag-Loringhoven left Most of what we know—and of what interests us so keenly— Germany in 1910, finally drifting to New York after she had has emerged from the concentration on the fascinating role she been deserted by her lover in the hinterland of Kentucky played as a recognized figure in American Dada and Surrealist (Hjartarson, "Of Greve" 282; Martens, F,P. Grove 240-47). circles. During these years of her much-deserved rediscovery, What deserves emphasis then is this: from June 1910 to late however, why has she been exclusively categorized as a Dada 1913 she had no way of becoming acquainted or influenced by author? As a maker of striking assemblages, herself the subject Dada artists-to-be, including those whom she later joined in of art works, and as an artist who seems to have surfaced New York, were they Europeans or Americans, In fact, she abruptly into Dada existence, somehow fully formed, EFL has could hardly have been in contact with those early been made to appear as a kind of unchaste Athena Parthenos Expressionists and Futurists who gathered around such leading sprung from the head of Zeus. There is no doubt as to her Berlin publications as Der Sturm after 1911. Thus, she would strong involvement in New York with such artists as Marcel not have known of Jean (Hans) Arp, Hugo Ball, Richard Duchamp, Man Ray, and Morton Livingston Schamberg, and 2 Huelsenbeck, Kurt Schwitters or Tristan Tzara, the earliest her prominent part in "The European Art Invasion." Although Dada artists to surface in Switzerland and Germany, in their EFL took part in many of the activities of the artists who came very self-consciously played roles as "new" artists, roles that to New York from Europe before, during, and after the Great helped them achieve welcome notoriety. She certainly could War, she did not, as Davidson writes in 1996, come to New not have been a harbinger of the good Dada news from Zurich York from Germany in 1913 (223). Davidson clearly follows and the Cafe Voltaire to New York, since the Swiss beginnings an early remark (since corrected) that she had gone "from of Dada did not occur before February 5, 1916 at the first Cincinnati to New York and from there back to Germany," performance in the Cafe Voltaire, as recorded by Hugo Ball eventually returning, with the Baron, to New York (Hjartarson, (Dohl 719). What Freytag-Loringhoven, in New York, did "Of Greve" 283). But wherever she came from in the United have in common, however, was the immigrant status shared by States before she first surfaced in Pittsburgh, did she know of these artists from different nationalities in Zurich during the Canadian Review of Comparative Literature/Revue Canadienne de Littérature Comparée CRCL JANUARY-MARCH 2002 MARS-JUIN 0319-051X/2002/29.1/1 © Canadian Comparative Literature Association KLAUS MARTENS | TWO GLIMPSE OF THE BARONESS Great War: Ball and Huelsenbeck were Germans, Arp was a In addition, and maybe most importantly, these early dadaists shared bilingual Alsatian, and Tzara was a Romanian. They were a profound distrust of language which, at first, resulted not in a united in what they opposed: war, "ideas," the individual language of their own invention but in a recombination of traditional person, meaning. Regarding their art, they did not flaunt so vocabulary, confronting "the nonsense of the time by art's no-sense" much their outrageous artistic inventiveness as their collagistic (Dohl 730). Only their performances of the poeme simultan (simultaneous poem) and Ball's own invention of the Klanggedichte restatement, exacerbation, and, finally, synthesis of existing (sound poems) promised something new (732, 734). Ball turned away trends in Expressionism, Futurism, and other isms of their day. from Dada in 1917, the Zurich experiment ended in 1919, and new "Dada zielte auf Provokation...Und das Medium seines Protests groups of artists sprang up all over Europe, interpreting Dada in their war die Kunst oder auch Anti-Kunst, aber nur, wenn man Anti- own ways. Kunst auf die traditionellen Vorstellungen von Kunst bezogen Among these, it should be noted, was Kurt Schwitters who, from sieht" ["Dada aimed at provocation...and the medium of this 1919, singlehandedly developed his own idiosyncratic version of Dada protest was an anti-art, if anti-art is understood as reacting which he called "Merz." In a letter from Berlin to Djuna Barnes, Else against traditional ideas of art"] (Dohl 727). Hugo Ball tried to von Freytag-Loringhoven calls one of Schwitters's pictures a "senseless pin down Dada's specific manner and materia poetica: truly idiotic— mimicking 'modern' picture" and finds the painter "mediocre." She adds: "Seldom have I seen anything so offensively Was wir Dada nennen ist ein Narrenspiel aus dem Nichts, in das alle impotent of any inner necessity— or outside cleverness—by him! It is hoheren Fragen verwickelt sind; eine Gladiatorengeste; ein Spiel mit shameful imitative—nothing else—without any flourish! Fi!"3 Else was den schabigen Uberbleibseln; eine Hinrichtung der posierten Moralitat apparently not merely flattering her American correspondent to whom und Fiille. Der Dadaist liebt das Auftergewohnliche, ja das Absurde: Er she always praised everything American to the skies and from whom weift, dass sich im Widerspruche das Leben behauptet und dass seine Zeit she expected salvation from the depths in which she found herself wie keine vorher auf die Vernichtung des Generosen abziehlt. Jede Maske ist after her return to Germany in 1923. It is important to note that while ihm datum willkommen: jedes Versteckspiel, dem eine dvipierende Kraft innewohnt. Das Direkte und Primitive erscheint ihm inmitten enormer she was in Germany in the twenties she remained aware of devel- Unnatur als das Unglaubliche selbst. opments in art in spite of her dire poverty and frequent depressions. She knew of Schwitters's work and she put it down (whimsically, What we call Dada is a fool's game from nothingness in which are because of Schwitters's homely first name, Kurt). Schwitters, gathered all higher questions; it is a gladiator's gesture; a game with the however unfairly treated by her in her despair, is the only second- worn out remnants; an execution of posed morality and bounty. The generation dadaist she mentions at any length. Freytag-Loringhoven, Dadaist loves the extraordinary, yes, the absurd. He knows that life when still in New York, herself belonged to this second generation survives in contradictions and that his own time, as no time before, that surfaced towards the end of the Great War. John Rodger aims at the elimination of the generous. Any kind of mask, therefore, indirectly acknowledged this in The Little Review (1920), although is welcome to him. Any game of hide-and-seek that is inhabited by a his time-frame, too, was a little off: "Paris had had Dada for five power of deceit. The direct and primitive appear to him in the midst of years and we have had Elsa von Freytag-Loringhoven for two years" such enormous non-nature as the incredible itself. (Dohl 725-26, my (Naumann, New York Dada 168). At the time of her writing to translation). Barnes from Germany, Dada, in its many new incarnations, was all over Europe in what might be called a third wave. Was EFL's KLAUS MARTENS | TWO GLIMPSE OF THE BARONESS reaction to Schwitters merely the invective of a rival who had lost her in Germany prior to her arrival in the New World during the time her (New York) audience? It was more than that, since she perceived she spent in Cottbus, Berlin, and Munich about which, also, not a marked difference between Schwitters and herself: she castigates much is known. the other artist for his "outside cleverness," that is, his cleverness publicly displayed, and his lack of "flourish." Baroness Else von Freytag-Loringhoven: The lack she perceived in Schwitters helps us to characterize her own peculiar qualities in New York: her panache and the congruence Theatrical Beginnings of her striking costumes and appearance with her radical state of mind. In EFL, art and the person form a unity. That also marks the Much as in the German and Canadian novels and vast gap between her and the artists of the New York circles in autobiographical writings of Frederick Philip Grove aka Felix which she moved. If, as her contemporary and acquaintance, the poet Paul Greve, EFL's surviving autobiographical statements in her Wallace Stevens, was to note later, "the poem is the cry of its letters and the account of her early life written for Djuna occasion," then EFL's artistic expressions as objects d'art or her own Barnes contain fact and fiction in the form of fictionalised and bodily appearance are, quite unmelodramatically, the artistically expressed cri de coeur of a woman left and lost and without the highly selective autobiography. If FPG gave the heroines of his mastery of the language she needed.
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