This final paper includes a detailed analysis of Dadaism as a short-lived artistic direction that appeared at the beginning of the 20th century in Europe. The paper begins with an investigation of the origin of the name "Dadaism" itself, considering four theories that followed its genesis. Special emphasis is placed on the context and influence of Dadaism in Zurich, Cologne and Berlin. Through the artworks and performances of the International Dadaist Fair of the 1920s, Marcel Duchamp, Otto Dix and others, we got an insight into the political state of the Weimar Republic as well as the psychological profile of its citizens, after the First World War. Then we looked at the revolutionary and yet banal literature of that era, especially Tristan Tzara, a Romanian poet and one of the advocates of the mentioned trend. Furthermore, the text builds on the biography of the German Dadaist Otto Dix, who, together with George Grosz, is the founder of the so-called "trend" New realities (Neue Sachlichkeit). Since the topic of the paper is "Dadaism through the work of Otto Dix on the example of the portrait of Sylvia von Harden", I briefly focused on the life of Sylvia von Halle, known as Sylvia von Harden, and I gave two reasons (appearance and works) why she is a perfect example of the new movement, based on feminism, the so-called New women (Neu Frau). That "perfection", as a dot on the i, is supported by a formal analysis of the portrait itself. The conclusion of the paper points out that Dix's portrait of Sylvia von Harden emphasizes the importance of Dada elements in the depiction of modernity and individuality