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拍品專文
The present work is a portrait of the artist's girlfriend Suzy painted by Schad in Geneva in July 1917. The picture dates from the height of Schad's involvement with Dada but reflects more strongly the pervasive influence of Expressionism, in particular the seemingly psychic or psychological portraiture of Oskar Kokoschka.
In Zurich, where Schad had moved from Munich in the summer of 1915, he had come into contact with the Dadaists of the Cabaret Voltaire, but it was only after moving to Geneva in November 1916 and the development of his great friendship with Walter Serner, that he came to fully embrace Dada. It was in Geneva, for example, that he would pioneer his own unique contribution to the movement through his photographic 'Schadographs'.
In his painting during this vitally important developmental period Schad began to abandon the Cubo-Futurism that had distinguished his work of 1915 and the strict black and white colouring he had adopted as the only 'possible expression of our unreserved opposition to the war' with its 'either-or attitude', to concentrate on a more psychologically probing art (C. Schad, Relative Realitäten - Erinerungen um Walter Serner, Augsburg, 1999, p. 15).
Psychology was deemed by many of the Zurich Dada circle to be a new and exciting science of revolutionary potential. In response to this Schad became increasingly interested in portraits that gave an insight into the inner worlds of his sitters. In 1918, for example, he would take this idea to its logical and typically Expressionist conclusion by painting a series of portraits of mental patients from the Chêne asylum.
With her large wide eyes fixed on the viewer in a gaze typical of Schad's later portraiture, Suzy is an intense depiction of the artist's girlfriend as if she were a mystical presence materializing amidst the ether. Building into an apparently frenzied angular pattern of brushwork, the paint reflects a neurotic energy and psychological intensity reminiscent of Kokoschka's great early portraits. Similarly, with Suzy's face seemingly radiating some mystic or heavenly light, this painting also seems to paraphrase the pseudo-mysticism and psychology of other Viennese Expressionist portraits. In particular, those of Egon Schiele and Max Oppenheimer (MOPP) whose recent exhibition at the Kunsthaus in Zurich in the spring of 1917 Schad would presumably have seen.
In Zurich, where Schad had moved from Munich in the summer of 1915, he had come into contact with the Dadaists of the Cabaret Voltaire, but it was only after moving to Geneva in November 1916 and the development of his great friendship with Walter Serner, that he came to fully embrace Dada. It was in Geneva, for example, that he would pioneer his own unique contribution to the movement through his photographic 'Schadographs'.
In his painting during this vitally important developmental period Schad began to abandon the Cubo-Futurism that had distinguished his work of 1915 and the strict black and white colouring he had adopted as the only 'possible expression of our unreserved opposition to the war' with its 'either-or attitude', to concentrate on a more psychologically probing art (C. Schad, Relative Realitäten - Erinerungen um Walter Serner, Augsburg, 1999, p. 15).
Psychology was deemed by many of the Zurich Dada circle to be a new and exciting science of revolutionary potential. In response to this Schad became increasingly interested in portraits that gave an insight into the inner worlds of his sitters. In 1918, for example, he would take this idea to its logical and typically Expressionist conclusion by painting a series of portraits of mental patients from the Chêne asylum.
With her large wide eyes fixed on the viewer in a gaze typical of Schad's later portraiture, Suzy is an intense depiction of the artist's girlfriend as if she were a mystical presence materializing amidst the ether. Building into an apparently frenzied angular pattern of brushwork, the paint reflects a neurotic energy and psychological intensity reminiscent of Kokoschka's great early portraits. Similarly, with Suzy's face seemingly radiating some mystic or heavenly light, this painting also seems to paraphrase the pseudo-mysticism and psychology of other Viennese Expressionist portraits. In particular, those of Egon Schiele and Max Oppenheimer (MOPP) whose recent exhibition at the Kunsthaus in Zurich in the spring of 1917 Schad would presumably have seen.