Elsa von Freytag-Loringhoven
Elsa von Freytag-Loringhoven
Else Hildegard Plötz
12 July 1874
|Died||15 December 1927 (aged 53)|
|Known for||Poetry, sound poetry|
Frederick Philip Grove
Baron Leopold von Freytag-Loringhoven
Elsa Hildegard Baroness von Freytag-Loringhoven (née Plötz; 12 July 1874 – 15 December 1927) was a German avant-garde, Dadaist artist and poet who worked for several years in Greenwich Village, New York.
Her provocative poetry was published posthumously in 2011 in Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven. The New York Times praised the book as one of the notable art books of 2011.
Elsa Plötz was born in Swinemünde in Pomerania, Germany, to Adolf Plötz, a mason, and Ida Marie Kleist. Her relationship with her father was temperamental—she emphasized how controlling he was in the family, as well as how cruel, yet big-hearted he was. In her art, she related the ways that political structures promote masculine authority in family settings, maintaining the state's patriarchal societal order. Her discontent with her father's masculine control may have fostered her anti-patriarchal activist approach to life. On the other hand, the relationship that she had with her mother was full of admiration—her mother's craft involving the repurposing of found objects could have spawned Freytag-Loringhoven's utilization of street debris/found objects in her own artworks. She trained and worked as an actress and vaudeville performer and had numerous affairs with artists in Berlin, Munich and Italy. She studied art in Dachau, near Munich.
She married Berlin-based architect August Endell in a civil service on August 22, 1901 in Berlin, becoming Elsa Endell. They had an "open relationship", and in 1902 she became romantically involved with a friend of Endell's, the minor poet and translator Felix Paul Greve (who later went by the name Frederick Philip Grove). After the trio travelled together to Palermo, Sicily in late January 1903, the Endells' marriage disintegrated. They divorced in 1906. Although their separation was acrimonious, she dedicated several satirical poems to Endell. In 1906, she and Greve returned to Berlin, where they were married on August 22, 1907.
By 1909, Greve was in deep financial trouble. With his wife's help, he staged a suicide and departed for North America in late July 1909. In July 1910, Else joined him in the United States, where they operated a small farm in Sparta, Kentucky, not far from Cincinnati. Greve suddenly deserted her in 1911 and went west to a bonanza farm near Fargo, North Dakota, and to Manitoba in 1912. There are no records of a divorce from Greve. She started modeling for artists in Cincinnati, and made her way east via West Virginia and Philadelphia, before she married her third husband, the German Baron Leopold von Freytag-Loringhoven (son of Hugo von Freytag-Loringhoven), in November 1913 in New York. She later became known as "the dadaist Baroness Elsa von Freytag-Loringhoven".
In New York City, Freytag-Loringhoven supported herself by working in a cigarette factory and by posing as a model for artists such as Louis Bouché, George Biddle, and Man Ray. She also appeared in works by George Grantham Bain and others; lithography by George Biddle; and paintings by Theresa Bernstein.
The Baroness was given a platform for her poetry in The Little Review, where, starting in 1918, her work was featured alongside chapters of James Joyce's Ulysses. Jane Heap considered the Baroness "the first American dada." She was an early female pioneer of sound poetry, but also made creative use of the dash, while many of her portmanteau compositions, such as "Kissambushed" and "Phalluspistol," present miniature poems. Most of her poems remained unpublished until the publications of Body Sweats. Her personal papers were preserved after her death by her editor, literary agent, artistic collaborator, and lover Djuna Barnes. University of Maryland Libraries acquired a collection of her work with the papers of Barnes in 1973 and subsequently separated von Freytag-Lorninghoven's papers and treated them as an individual collection. The collection contains correspondences, visual poems, and other artistic/literary works by the artist. The University of Maryland's special collections has an extensive digital archive of her manuscripts.
Collage, performance and assemblage
In New York, the Baroness also worked on assemblage sculptures and paintings, creating art out of the rubbish and refuse she collected from the streets. The Baroness was also known to construct elaborate costumes from found objects, creating a "kind of living collage" that erased the boundaries between life and art.
The Baroness' elaborate costumes both critiqued and challenged the bourgeoisie notions of feminine beauty and economic worth. She adorned herself with utilitarian objects like spoons, tin cans, and curtain rings, as well as street debris that she came across. The Baroness' use of her own body as medium was deliberate, to transform herself into a specific type of spectacle—one that women who complied to the constraints of femininity of the time would be humiliated to embody. By doing so, she controlled and established agency over the visual access to her own nudity, unhinged the presentational expectations of femininity by appearing androgynous, drew upon ideas of women's selfhood and sexual politics, and provided emphasis on her anti-consumerism and anti-aestheticism outlooks. She included her body's smells, perceived imperfections, and leakages in her body art, encompassing Irrational Modernism. Irrational Modernism "...maintains a finely calibrated balance between rationality and irrationality, reason and affect, public and personal. Boundaries are crossed, but not collapsed." That being said, the placement of her raw, true personal body/self in a public space by her own means and her own fashion, could not be better explained than as Irrational Modernism. The Baroness' body art was not only a sculpture and living collage, but also a form of dadaist performance art and activism.
Few artworks by the Baroness exist today. Several known found object works include Enduring Ornament (1913), Earring-Object (ca. 1917-1919), Cathedral (ca. 1918) and Limbswish (ca. 1920). Rediscovered by the Whitney Museum in New York City in 1996, her Portrait of Marcel Duchamp (1920–1922) is another example of her ready-made pieces.
There has been substantial new research indicating that some artworks attributed to other artists of the period can now either be attributed to the Baroness, or raise the possibility that she may have created the works. One work, called God (1917) had for a number of years been attributed to the artist Morton Livingston Schamberg. The Philadelphia Museum of Art, whose collection includes God, now credits the Baroness as a co-artist of this piece. Amelia Jones identified that this artwork's concept and title was created by the Baroness, however, it was constructed by both Shamberg and the Baroness. This sculpture, God, involved a cast iron plumbing trap and a wooden mitre box, assembled in a phallic-like manner. Her concept behind the shape and choice of materials is indicative of her commentary on the worship and love that Americans have for plumbing that trumps all else; additionally, it is revealing of the Baroness's rejection of technology.
Perhaps the most notable of plumbing sculptures, Fountain (1917), by Marcel Duchamp, has also been connected to the Baroness. In a letter written by Marcel Duchamp to his sister Suzanne (dated April 11, 1917) he refers to the famous ready-made: "One of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture." Literary historian Irene Gammel suggested in 2002 that the "female friend" in question was the Baroness. Duchamp never identified his female friend, but three candidates have been proposed: an early appearance of Duchamp's female alter ego Rrose Sélavy; Elsa von Freytag-Loringhoven; or Louise Norton (a Dada poet later married to the avant-garde French composer Edgard Varèse), who contributed an essay to The Blind Man discussing Fountain, and whose address is partially discernible on the paper entry ticket in the Stieglitz photograph. However, the fact that Duchamp wrote 'sent,' and not 'made,' indeed raises suspicions that this idea for found art was in fact provided to him by another dadaist artist, due to the readymade nature of the piece.
In 1923, Freytag-Loringhoven went back to Berlin, expecting better opportunities to make money, but instead found an economically devastated post-World War I Germany. Despite her difficulties in the Weimar Republic, she remained in Germany, penniless and on the verge of insanity. Several friends in the expatriate community, in particular Bryher, Djuna Barnes, Berenice Abbott, and Peggy Guggenheim, provided emotional and financial support.
Freytag-Loringhoven's mental stability steadily improved when she was able to move to Paris. She died on 14 December 1927 of gas suffocation after it was left on in her flat. She may have forgotten to turn the gas off, or someone else may have turned it on; the circumstances were not clear. She is buried in Père Lachaise Cemetery, Paris.
The Baroness was one of the "characters, one of the terrors of the district," wrote her first biographer Djuna Barnes, whose book remained unfinished. In Irrational Modernism: A Neurasthenic History of New York Dada, Amelia Jones provides a revisionist history of New York Dada, expressed through the life and works of The Baroness. The 2002 biography, Baroness Elsa: Gender, Dada and Everyday Modernity, by Irene Gammel, makes a case for the Baroness's artistic brilliance and avant-garde spirit. The book explores the Baroness's personal and artistic relationships with Djuna Barnes, Berenice Abbott, and Jane Heap, as well as with Duchamp, Man Ray, and William Carlos Williams. It shows the Baroness breaking every erotic boundary, reveling in anarchic performance, but the biography also presents her as Elsa's friend Emily Coleman saw her, "not as a saint or a madwoman, but as a woman of genius, alone in the world, frantic."
In 2013, the artists Lily Benson and Cassandra Guan released The Filmballad of Mamadada, an experimental biopic on the Baroness. The story of The Baroness' life was told through contributions from over 50 artists and filmmakers. The film premiered at Copenhagen International Documentary Festival and was described as a, "playful and chaotic experiment that posits a return to a grand collective narrative via the postqueer populism of YouTube and crowdsourcing," by Art Forum.
- Freytag-Loringhoven, Elsa von. Body Sweats: The Uncensored Writings of Elsa von Freytag Loringhoven. Ed. Irene Gammel and Suzanne Zelazo. Cambridge, MA: MIT Press, 2011.
- Smith, Roberta. "Art Books Recommended as Gifts for Art Lovers".
- Reilly, Eliza Jane. "Elsa Von Freytag-Loringhoven." Woman's Art Journal 18, no. 1 (1997): 26-33. doi:10.2307/1358677
- Gammel, Irene. Baroness Elsa: Gender, Dada, and Everyday Modernity. Cambridge, MA: MIT Press, 2002, 109.
- Gammel, Baroness Elsa, 129.
- Gammel, Baroness Elsa, 144.
- Freytag-Loringhoven, Elsa von. Mein Mund ist lüstern / I Got Lusting Palate: Dada Verse. Trans. and Ed. Irene Gammel. Berlin: Ebersback, 2005, 112–118.
- Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002, 144
- See Temple Scott's edition, which is extant in Grove's Library Collection at the UMA. See also the opening pages of Grove's 1927 Search for America, which provides details that led to the discovery of FPG's transatlantic passage in October 1998, shortly after the "In Memoriam FPG: 1879-1948-1998" Symposium commemorating the 50th Anniversary of his death
- Gammel, Baroness Elsa, 145.
- Gammel, Baroness Elsa, 153.
- Gammel, Irene and Suzanne Zelazo. "'Harpsichords Metallic Howl—': The Baroness Elsa von Freytag-Loringhoven's Sound Poetry." Modernism/modernity 18.2 (2011): 255-271.
- Irene Gammel and Suzanne Zelazo, "The First American Dada: Introduction," in Freytag-Loringhoven, p. 17.
- Gammel, Irene (2002). Baroness Elsa: Gender, Dada, and Everyday Modernity. Cambridge, Massachusetts: The MIT Press. pp. 342–354. ISBN 0-262-07231-9.
- "Elsa von Freytag-Loringhoven papers > ArchivesUM". hdl.handle.net. Retrieved 2016-03-05.
- "Elsa von Freytag-Loringhoven papers". Archives UM. University of Maryland. Retrieved 8 April 2017.
- "Obsession: Baroness Elsa von Freytag-Loringhoven - Interview Magazine". 2 April 2009.
- Harding, James M. (2012). Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde. Ann Arbor: University of Michigan Press. p. 40.
- Gammel, Irene. "Taking off Her Chemise in Public: New York Dada, Irrational Modernism, and the Baroness Elsa Von Freytag-Loringhoven." Oxford Art Journal 28, no. 1 (2005): 135-38. https://www.jstor.org/stable/4500007.)
- Irene Gammel, Baroness Elsa: Gender, Dada, and Everyday Modernity—A Cultural Biography, MIT Press, 2003, pp. 466, 490, ISBN 026257215X
- Lappin, Lunda. "Dada Queen in the Bad Boys' Club: Baroness Elsa Von Freytag-Loringhoven." Southwest Review 89, no. 2/3 (2004): 307-19. https://www.jstor.org/stable/43472537.
- The iconic Fountain (1917) is not created by Marcel Duchamp, Theo Paijmans, June 2018
- A woman in the men's room: when will the art world recognise the real artist behind Duchamp's Fountain? The Guardian, 2019-03-29.
- Marcel Duchamp to Suzanne, 1917 Apr. 11. Part of the Jean Crotti papers, 1913-1973, bulk 1913-1961. Smithsonian Institution Archives of American Art.
- Tate. "Fountain, Marcel Duchamp, 1917, replica 1964". tate.org.uk. Retrieved 14 August 2018.
- Tate. "Fountain, Marcel Duchamp, 1917, replica 1964". tate.org.uk. Retrieved 23 March 2018.
- Camfield, William A. (1989). Marcel Duchamp, Fountain. Houston, TX: Houston Fine Art Press. p. 183. ISBN 0939594102.
- Gammel, Irene (2002). Baroness Elsa: Gender, Dada, and Everyday Modernity. Cambridge: The MIT Press. pp. 222–227. ISBN 0-262-07231-9.
- Robert Reiss, "My Baroness: Elsa von Freytag-Loringhoven" in New York Dada, edited by Rudolf E. Kuenzli (New York: Willis Locker & Owens, 1986), pages 81-101.
- David M. Lubin, Grand Illusions: American Art and the First World War, Oxford University Press, 2016, ISBN 0190218622
- The Blind Man, Vol. 2, 1917, p. 5
- Francis M. Naumann, New York Dada, 1915-23 (New York: Harry N. Abrams, 1994), p. 239, note 17
- "Djuna Barnes on Elsa's death". www.francisnaumann.com. Retrieved 2016-11-22.
- Butler, Cornelia H.; Schwartz, Alexandra (2010). Modern Women: Women Artists at The Museum of Modern Art. New York: Museum of Modern Art. p. 45. ISBN 9780870707711.
- Gammel, Baroness Elsa, p. 17.
- Jones, Amelia (2004). Irrational Modernism A Neurasthenic History of New York Dada. Cambridge: The MIT Press. ISBN 9780262101028.
- "Baroness Elsa - Modern Literature and Culture Research Centre (MLC) - Ryerson University". ryerson.ca.
- Gammel, Baroness Elsa, p. 16-17.
- "The Filmballad of Mamadada". www.mamadada.info.
- "Archived copy". Archived from the original on 2014-08-27. Retrieved 2014-08-26.CS1 maint: Archived copy as title (link)
- Dallas, Paul (December 19, 2013). "Body Politic". Artforum. Retrieved 2 August 2015.
|Wikimedia Commons has media related to Elsa von Freytag-Loringhoven.|
|Wikiquote has quotations related to: Elsa von Freytag-Loringhoven|
- Christopher Lane's ill. FrL Article, including a brief biography, & some of her poems and writings
- In Transition: Selected Poems by the Baroness Elsa von Freytag-Loringhoven, University of Maryland Libraries. Retrieved 1 October 2014.
- Baroness Elsa von Freytag-Loringhoven Digital Library. Retrieved 23 August 2013.
- University of Maryland Freytag-Loringhoven collection finding aid, Dr. Beth Alvarez. Retrieved 17 June 2013.
- University of Manitoba FPG (Greve/Grove) & FrL Collections
- The Little Review Collection Finding-Aid, University of Wisconsin-Milwaukee
- Literatur-Haus, Berlin FrL Exhibition, 30 March to May, 2005
- Hustvedt, Siri (29 March 2019). "A woman in the men's room: when will the art world recognise the real artist behind Duchamp's Fountain?". The Guardian. Retrieved 29 March 2019.