Hannah Höch
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© Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

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ArtistGerman, 1889–1978
CultureGerman
Titles
  • Broken
Date1930
PlaceGermany
MediumCollage
DimensionsImage (irregular): 5 7/8 × 4 7/16 in. (14.9 × 11.3 cm)
Sheet: 8 5/16 × 6 1/4 in. (21.1 × 15.9 cm)
Credit LineMuseum purchase funded by the Brown Foundation Accessions Endowment Fund
Object number89.377
Not on view

Explore Further

Department
Photography
Object Type
Description

An important (and the only female) member of the Berlin Dada group,
Hannah Höch was a pioneer in photomontage. In her deft hands, images taken from
popular and fashion magazines were collaged together to create radical work
that struck a balance between humor and poetic beauty. Höch was part of a
generation of German artists for whom the explosion of World War I shattered
the status quo of everyday life, imbuing them with a political consciousness of
the changing world that rose from the ashes. She claimed to have discovered
photomontage in the cut-and-paste photographs that soldiers on the front sent
home to their families, and it soon became her medium of choice for satirical
social commentary.

The base image for this collage
is a single page from the December 1930 issue of the German periodical Die Woche [The Week], which featured a
photograph of four doll heads with the caption “Vier Puppen unserer Zeit” [For
Dolls of Our Times].

Placing an image of a
dung beetle—an insect that feeds on animal feces—in each of the dolls’ eyes,
Höch offers a biting commentary on the depiction of women as glamorized
“products.”




Provenance[Prakapas Gallery, Bronxville, New York]; purchased by MFAH, 1989.
Exhibition History"The Photomontages of Hannah Höch," Walker Art Center, Minneapolis, September 22, 1996–January 5, 1997; Museum of Modern Art, New York, February 26–May 20, 1997.

"A Love Affair with Pictures: 25 Years of Collecting Photographs at the Museum of Fine Arts, Houston," Museum of Fine Arts, Houston, October 14–December 30, 2001.

"Utopia/ Dystopia: Construction and Destruction in Photography and Collage," Museum of Fine Arts, Houston, March 11–June 10, 2012.
Inscriptions, Signatures and Marks
bottom right corner below image in pencil " H.H. "
the reverse of a circular stamp bottom center below image is visible-the name of the artist is discernable but the other wording is illegible

Cataloguing data may change with further research.

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