DEVELOPING PHOTOMONTAGE BEYOND DADA

Heartfield's later work shows a re-introduction of the traditional painting attributes that he, as a Dadaist, had previously rejected. In Dada-merica, the work is a seeming random mixture of printed elements. But After Ten Years: Fathers and Sons 1924, illustrates the break in Heartfield's approach to photomontage. He begins to employ "controlled composition, perspective, and precise subject matter." [1]

Clearly Heartfield's work had evolved to meet his goal of getting very specific messages across, indeed, for using it as a political weapon.