“The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism... In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.”

— Marcel Duchamp

Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

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Marcel Duchamp66

French painter and sculptor 1887–1968

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“We, the founders of Dada-movement try to give time its own reflection in the mirror.”

Kurt Schwitters (1887–1948) German artist

In first edition of the journal Merz, 1923.
1920s

“.. there is a real Dada strain in the minds of the New York School of abstract painters that has emerged in the last decade.”

Robert Motherwell (1915–1991) American artist

The Dada Painters and Poets, Schultz, Wittenborn, New York 1951, p. xiii
1950s

“Dada is able to mobilize the optical and dimensional static viewpoint which keeps us imprisoned in our [three-dimensional] illusions. Thus it became possible t0 perceive the entire prism of the world instead of just one facet at a time. In this connection Dada is one of the strongest manifestations of the fourth dimension, transposed onto the subject.... Dada is 'yes-no', a bird on four legs, a ladder without steps, a square without angels. Dada possesses as many positives as negatives. To think that Dada simply means destruction is to misunderstand life, of which Dada is the expression.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's article 'What is Dada?????????????????', in Dutch art-magazine De Stijl, The Hague, 1923; as quoted in "Theo van Doesburg", Joost Baljeu, Studio Vista, London 1974, p. 134
1920 – 1926

“FRANCIS PICABIA
is an imbecile, an idiot, a pickpocket!!!
1921
BUT
He saved Arp from constipation!
The first mechanical work was created
by madam Tzara the Day she put
little Tristan into the world, however she
didn't know it
funny girl
Francis Picabia
is an imbecilic Spanish professor
who has never been dada
FRANCIS PICABIA IS NOTHING
FRANCIS PICABIS likes the morality of idiots
Arp's binocle is Tristan’s testicle
FRANCIS PICABIS IS NOTHING!!!!!!!!!!
But Arp was Dada before Dada.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia in his 'Manifesto, 1921'; as cited in Manifesto: A Century of Isms, ed. Mary Ann Caws, Lincoln: University of Nebraska Press, 2001, p 319
1920's

“My name is Schwitters, Kurt Schwitters... I'm a painter and I nail my pictures... I'd like to be accepted into the Dada Club”

Kurt Schwitters (1887–1948) German artist

Quote in his letter to Hans Richter, c. 1916; as quoted in 'Hannover-Dada' by Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, commissioned by w:Rudi Fuchs, director of the Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 151
1910s

“Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

“Kandinsky, Wassily – painter, printmaker and author – the first painter to base painting on purely pictorial means of expression and abandon objects in his pictures.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Wassily Kandinsky, 1919 - his self-characterisation in 'Das Kunstblatt', 1919; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html <br class="br">1916 -1920

“The philosophers are of less use to Dada than an old toothbrush, and it leaves them on the scrap heap for the great leaders of the world.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 63
Context: Dada was given the Venus of Milo a clyster and has allowed the Laocoön and his sons to rest awhile, after thousands of years of struggle with the good sausage Python. The philosophers are of less use to Dada than an old toothbrush, and it leaves them on the scrap heap for the great leaders of the world.

“A painter may know what he does not want.
But woe betide him if he wants to know
what he does want! A painter is lost if he finds himself.
The fact that he has succeeded in not finding
himself is regarded by Max Ernst as his only
'achievement.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote from 'Max Ernst', exhibition catalogue, Galerie Stangl, Munich, 1967, U.S., pp.6-7, as cited in Edward Quinn, Max Ernst. 1984, Poligrafa, Barcelona. p. 12
1951 - 1976

“Mama does everything for the baby, who responds by saying Dada first.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Unclassified

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