Morton Livingston Schamberg

[3] Schamberg moved on to Paris later that year,[4] where he became an associate of Leo and Gertrude Stein's circle of avant-garde artists and writers.

[1] He returned to Philadelphia in mid-1909, and he and Sheeler rented studios in the same downtown building as well as a farmhouse in rural Bucks County for use on weekends and during the summer.

[1][3] By 1915, Schamberg began painting mechanical forms, possibly through the influence of New York Dada artists such as Marcel Duchamp and Francis Picabia.

[1] The only sculptural work credited to Schamberg that reflects a 'pure' Dadaist sensibility is the assemblage God, but this attribution has been questioned by art historians who believe he photographed it,[3] but that it was a collaboration with Baroness Elsa von Freytag-Loringhoven.

Schamberg was a pacifist,[3] and his distress over World War I ultimately caused him to drop the subject of machines to work in watercolors, only one of which has survived: a still life of a bowl of flowers.