The Baroness is clearly identi?ed with the General in the anonymous article “Refugee Baroness Poses as a Model,”
5. Hugo Freiherr von Freytag-Loringhoven (1855–1924) was Lieutenant General, Chief of the Supplementary General Staff of the German Army, and often a spokesperson in international contexts. 2. The General’s incendiary views, as expressed in his book Deductions from the World War (which claimed, even before the war ended, that Germany would ?ght another world war to gain “worldpower”), are featured in the anonymous article “What Germany Has Not Learned in This War,” Literary Digest 56, no. 9 (March 2, 1918), 19–22.
6. Jane Heap, “Dada,” Little Review 8, no. 2 (Spring 1922), 46. Heap, along with Margaret Anderson, was one of the Baroness’s most solid supporters; the two women published her fantastic modernist poems in the Little Review. 7. Daniel Sherman, The Construction of Memory in Interwar France (Chicago: University of Chicago Press, 1999), 8, 67. 8. W. B. Yeats, from his poem “The Second Coming” (1921), cited in Richard Cork, A Bitter Truth: Avant-Garde Art and the Great War (New Haven: Yale University Press, 1994), 260; my emphasis. 9. Milton W. Brown, American Painting from the Armory Show to the Depression (Princeton: Princeton University Press, 1955), 71. 10. It must be noted that Irene Gammel’s biography of the Baroness does discuss the war at some length, but naturally focuses on the Baroness as a ?gure of its con?icts and https://datingranking.net/nl/catholicmatch-overzicht/ views the situation primarily in relation to the literary rather than the visual-art avant-gardes; in her chapter 8, “A Citizen of Terror in War
See “Michaelis Wants a Strong Peace,” an essay on the Kaiser’s speech opening parliament, and mentioning the Baron’s speech as well, New York Times, August 6, 1917, section 1, p
Time,” in Baroness Elsa, 206–237. Nancy Ring’s Ph.D. dissertation, “New York Dada and the Crisis of Masculinity: Man Ray, Francis Picabia, and p in the United States, 1913–1921” (Northwestern University, 1991), is the only art historical account I know of that examines World War I at any length in relation to New York Dada (at least for seven pages, 16–23), although she situates the war as one of a number of forces conspiring to shift gender relations during this period and thus generally informing the “instability of Duchamp, Picabia, and Man Ray’s ?gurations of masculinity” (8).