From Dada to surrealism - review

Exhibition

the Jewish Historical Museum, Amsterdam, addresses the problem of anti-Semitism often avoided in the art and Dadaism

The first event was held at the Cabaret Voltaire in Zurich Dada, February 5, 1916. Among the protagonists were the poet Tristan Tzara, Samuel Rosenstock was born in Moinesti, Romania (1895), and the artist Marcel Janco, born in Bucharest (1895). Always in contact with the Dada group were Arthur Segal was born in Iasi (1875), who a few years later, a student in Berlin called Maximilian Herman, known as Maxy was born in Braila (1895). A little later, they all meet Victor Brauner, born in Pietra Neamt (1903), an important figure in surrealism and Perahim Jules, born in Bucharest (1914), a surrealist second generation.

All Jews were Romanians, and the exhibition catalog Dada to Surrealism at the Jewish Historical Museum Amsterdam, opens with an article written by Radu Stern, entitled Why do so many Jews? The subtitle of the exhibition highlights the art of Jewish art in Romania, 1918-1938, and the spectacle of brilliantly addresses issues that are generally avoided

Between the two world wars, the pioneering anti-Semitic discourse related to Judaism, arguing that modern trends to destroy the principles of classical beauty and eradication of national traditions. These artists have expressed "the Jewish spirit nihilistic" (a common expression at the time) if not downright crazy. Stern cites the arts theorists of Romanian nationalism. These include the philosopher Emil Cioran in his days, also born in Romania. Similar calls "degenerate" art being banned were widely published in the pre-Nazi and later in Nazi Germany and France. We have known about it for a while, but many less on why artists Dadaism and Romania have been a prime target. One of the merits of the exhibition in Amsterdam is the examination of facts through many quotes and pictures.

• the 100 works in the exhibition offer a more complete description of these artists to date. Paintings Romanian, Israeli and French museums and private collection of Bucharest, who survived the war unscathed and Communism, reveals new aspects of these artists.

We have seen many of the living cubist-futurist Janco Dada-time job in Zurich and grotesque masks made for the show Cabaret Voltaire, but have rarely been subjected to the following: polychrome reliefs reinforced with collages , a part-part-cubist abstract paintings of Beckmann and inspiration, they deserve the same attention. The same is true for Brauner, but in this case of his early works. His later paintings, often surreal in the program in France, where he spent the second half of his life, but here is the 1920 compositions, somewhere between Cézanne and symbolism, which help us to understand the plans and cut fantasy that comes later.

As Segal and Maxy, finally out of the shadows. Woman reading Segal 1920, cubist and pointillist is presented here with works by Maxy, a master of modernist syncretism, which merged Cubism, Futurism, Suprematism, and primitivism.

vilified by critics of Romania in the interwar years, these artists were subjected to anti-Semitism in the post-1938 regime in Romania. Brauner Tzara and hid in the south of France. Segal took refuge in Britain and died in an air raid. Maxy went underground and fled to the Soviet Union Perahim. Janco came to Palestine. His first painting, which opens the exhibition, shows two tightrope above the crowd. It's hard not to see it as an allegory of the artist in danger.

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