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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.[1] The New York Times praised the book as one of the notable art books of 2011.[2]

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.[3] She related the ways that political structures promote masculine authority figures in family settings, functioning as a means of maintaining the state's patriarchal societal order of which even the patriarch is submissive to, to her father’s behavior.[4] Her discontent with her father’s hegemonic masculine control may have fostered her anti-patriarchal activist approach to life.[5] 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.[6] 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,[7] 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.[8] and they divorced in 1906.[9] Although their separation was acrimonious, she dedicated several satirical poems to Endell.[10] In 1906, she and Greve returned to Berlin, where they were married on August 22, 1907.[11]

By 1909, Greve was in deep financial trouble.[12] With his wife's help, he staged a suicide[13] 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.[14] 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. There, she 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 Man Ray, 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,[15] but also made creative use of the dash, while many of her portmanteau compositions, such as “Kissambushed” and “Phalluspistol,”[16] 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.[17] 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.[18] 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.[19]

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.[20][21]

The Baroness' elaborate costumes both critiqued and challenged the bourgeoisie notions of feminine beauty and economic worth.[22] She adorned herself with utilitarian objects like spoons, tin cans, and curtain rings, as well as street debris that she came across.[23] 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.[24] 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.[25] She included her body's smells, perceived imperfections, and leakages in her body art, encompassing Irrational Modernism.[26] Irrational Modernism "...maintains a finely calibrated balance between rationality and irrationality, reason and affect, public and personal. Boundaries are crossed, but not collapsed." [27] 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.[28] The Baroness’ body art was not only a sculpture and living collage, but also a form of dadaist performance art and activism.[29]

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 (no longer extant) 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 idenitified that this artwork’s concept and title was created by the Baroness, however, it was constructed by both Shamberg and the Baroness.[30] This sculpture, God (1917), involved a cast iron pumbing trap and a wooden mitre box, assembled in a phallic-like manner.[31] 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.[32] In a letter written by Marcel Duchamp to his sister Suzanne dated April 11, 1917 he refers to his famous ready-made, Fountain (1917) and states: "One of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture."[33] Some have claimed that the friend in question was the Baroness, but Francis Naumann, the New York-based critic and expert on Dada who put together a compilation of Duchamp’s letters and organized Making Mischief: Dada Invades New York for the Whitney Museum of American Art in 1997, explains this "female friend" is Louise Norton who contributed an essay to The Blind Man discussing Fountain. Norton was living at 110 West 88th Street in New York City and this address is partially discernible (along with "Richard Mutt") on the paper entry ticket attached to the object, as seen in Stieglitz's photograph of Fountain.

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.[34] She is buried in Père Lachaise Cemetery, Paris.

In 1943, Freytag-Loringhoven's work was included in Guggenheim's show Exhibition by 31 Women at the Art of This Century gallery in New York.[35]


  1. https://en.wikipedia.org/queerplaces/images/Elsa_von_Freytag-Loringhoven