Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol

Dorothy Rowe's 'After Dada' redefines our understanding not only of avant-garde activities in Cologne between the wars, but also of the crucial role played by women artists previously given little coverage. Rowe brings to light the careers and works of the, until now, relatively little known Marta Hegemann and Angelika Fick-Hoerle, contextualised within the artistic networks in which they practiced, which included Max Ernst, Anton Räderscheit, August Sandler and Kurt Schwitters. By exploring the major roles played by Hegemann and Fick-Hoerle within this period, Rowe presents a new interpretation of cultural activity during the troubled period between the end of the First World War and the rise of National Socialism. Meticulously researched and convincingly argued, this book will mark a fantastic contribution towards studies in Germany art and culture in the early twentieth century.Mike O'Mahony, Reader in History of Art, University of BristolThe book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field."...her wide-ranging analyses of the work of Hegemann and her circle clearly demonstrate that in this instance, orthodox approaches to categorization and classification have led to a host of misconstructions and misrepre-sentations. As such, Dorothy Rowe’s After Dada provides both a worthy appraisal of a neglected artist and a thoughtful and thought-provoking examination of structures of cultural exchange within the Weimar Republic’s avant-garde."(THE KURT SCHWITTERS SOCIETY NEWSLETTER: May 2014)

• Prologue: A Not So Still LifeIntroduction1. Dada and Stupid: ‘Art is the Legacy of those left behind’2. Marta Hegemann between Heaven and Hell 3. The Lonely Couple: Hegemann and Räderscheidt as ‘Künstlerehepaar’4. Dilettantes Arise! Networks of the Cologne Avant-GardeConclusionBibliographyIndex

Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol

Dorothy Rowe's 'After Dada' redefines our understanding not only of avant-garde activities in Cologne between the wars, but also of the crucial role played by women artists previously given little coverage. Rowe brings to light the careers and works of the, until now, relatively little known Marta Hegemann and Angelika Fick-Hoerle, contextualised within the artistic networks in which they practiced, which included Max Ernst, Anton Räderscheit, August Sandler and Kurt Schwitters. By exploring the major roles played by Hegemann and Fick-Hoerle within this period, Rowe presents a new interpretation of cultural activity during the troubled period between the end of the First World War and the rise of National Socialism. Meticulously researched and convincingly argued, this book will mark a fantastic contribution towards studies in Germany art and culture in the early twentieth century.Mike O'Mahony, Reader in History of Art, University of BristolThe book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field."...her wide-ranging analyses of the work of Hegemann and her circle clearly demonstrate that in this instance, orthodox approaches to categorization and classification have led to a host of misconstructions and misrepre-sentations. As such, Dorothy Rowe’s After Dada provides both a worthy appraisal of a neglected artist and a thoughtful and thought-provoking examination of structures of cultural exchange within the Weimar Republic’s avant-garde."(THE KURT SCHWITTERS SOCIETY NEWSLETTER: May 2014)

• Prologue: A Not So Still LifeIntroduction1. Dada and Stupid: ‘Art is the Legacy of those left behind’2. Marta Hegemann between Heaven and Hell 3. The Lonely Couple: Hegemann and Räderscheidt as ‘Künstlerehepaar’4. Dilettantes Arise! Networks of the Cologne Avant-GardeConclusionBibliographyIndex

Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol

Dorothy Rowe's 'After Dada' redefines our understanding not only of avant-garde activities in Cologne between the wars, but also of the crucial role played by women artists previously given little coverage. Rowe brings to light the careers and works of the, until now, relatively little known Marta Hegemann and Angelika Fick-Hoerle, contextualised within the artistic networks in which they practiced, which included Max Ernst, Anton Räderscheit, August Sandler and Kurt Schwitters. By exploring the major roles played by Hegemann and Fick-Hoerle within this period, Rowe presents a new interpretation of cultural activity during the troubled period between the end of the First World War and the rise of National Socialism. Meticulously researched and convincingly argued, this book will mark a fantastic contribution towards studies in Germany art and culture in the early twentieth century.Mike O'Mahony, Reader in History of Art, University of BristolThe book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field."...her wide-ranging analyses of the work of Hegemann and her circle clearly demonstrate that in this instance, orthodox approaches to categorization and classification have led to a host of misconstructions and misrepre-sentations. As such, Dorothy Rowe’s After Dada provides both a worthy appraisal of a neglected artist and a thoughtful and thought-provoking examination of structures of cultural exchange within the Weimar Republic’s avant-garde."(THE KURT SCHWITTERS SOCIETY NEWSLETTER: May 2014)

• Prologue: A Not So Still LifeIntroduction1. Dada and Stupid: ‘Art is the Legacy of those left behind’2. Marta Hegemann between Heaven and Hell 3. The Lonely Couple: Hegemann and Räderscheidt as ‘Künstlerehepaar’4. Dilettantes Arise! Networks of the Cologne Avant-GardeConclusionBibliographyIndex