influence of this early work and training can be seen in a number of her collages made in the late 1910s and early- to mid-1920s in which she incorporated sewing patterns and needlework designs. From 1926 to 1929 she lived and worked in the Netherlands. Höch formed many influential friendships and professional relationships over the years with individuals such as Kurt Schwitters, Nelly van Doesburg, Theo van Doesburg, Sonia Delaunay, László Moholy-Nagy, and Piet Mondrian, among others. Höch, along with Hausmann, was one of the first pioneers of the art form that would come to be known as photomontage. Personal life and relationships Art historian Maria Makela has characterized Höch's affair with Raoul Hausmann as "Stormy", and identifies the central cause of their altercations—some of which ended in violence—in Hausmann's refusal to leave his wife. He reached the point of fantasizing about killing Höch. Hausmann continually disparaged Höch not only for her desire to marry him, which he described as a "Bourgeois" inclination, but also for her opinions on art. Hausmann's hypocritical stance on women's emancipation spurred Höch to write "a caustic short story" entitled "The Painter" in 1920, the subject of which is "an artist who is thrown into an intense spiritual crisis when his wife asks him to do the dishes." Hausmann repeatedly implied that the only way Höch could reach full potential, as a woman and in their relationship, was to have a child with him. Höch herself wanted children, but both times she found she was pregnant with Hausmann's child, in May 1916 and January 1918, she had an abortion. Höch ended her seven-year relationship with Raoul Hausmann in 1922. In 1926, she began a relationship with the Dutch writer and linguist Mathilda ('Til') Brugman, whom Höch met through mutual friends Kurt and Helma Schwitters. By autumn of 1926, Höch moved to The Hague to live with Brugman, where they lived until 1929, at which time they moved to Berlin. Höch and Brugman's relationship lasted nine years, until 1935. They did not explicitly define their relationship as lesbian, instead choosing to refer to it as a private love relationship. In 1935, Höch began a relationship with Kurt Matthies, to whom she was married from 1938 to 1944. Later years Höch spent the years of the Third Reich in Berlin, Germany, keeping a low profile. She was the last member of the Berlin Dada group to remain