Zeichnung A 3, 1918
Collage
13,3 x 10,8 cm
Fondazione Kurt and Ernest Schiwitters, Hannover.
Bild mit heller Mitte (Picture with Light Center), 1919
Painted collage
33 1/4 x 25 7/8 in. (84.5 x 65.7 cm)
The Museum of Modern Art, New York
Revolving, 1919
Relief construction of wood, metal, cord, cardboard, wood, wire, leather, and Oil on canvas
122.7 x 88.7 cm
The Museum of Modern Art. New York City
Merzbild Rossfett, c. 1919
Assemblage
8 x 6 7/8 in. (20.4 x 17.4 cm)
Private collection
Merzbild 5B (Picture-Red-Heart-Church), April 26, 1919.
Collage, tempera, and crayon on cardboard
Guggenheim Museum, New York
Konstruktion fur edle Frauen (Construction for Noble Ladies), 1919
Assemblage
40 1/2 x 33 in. (103 x 83.3 cm)
Los Angeles County Museum of Art
Merz Picture 25A: The Star Picture, 1920
Montage, collage and oil on cardboard
104.5 x 79 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
Merz 163, with Woman Sweating, 1920.
Tempera, pencil, paper, and fabric collage mounted on paper
Guggenheim Museum, New York
Merzbild 29A. Picture with Flywheel, 1920
Assemblage, oil, diverse material on cardboard, wood and paper
85,8 x 106,8 cm,
93 x 113,5 x 17 cm
(wooden frame)
Sprengel Museum, Hannover, Germany
Picture of Spatial Growths - Picture with Two Small Dogs, 1920-39
Mixed media collage on board
1155 x 863 x 131 mm
Tate Gallery, London
Merz 199, 1921.
Papers, fabrics, and paint on newspaper
Guggenheim Museum, New York
Cherry Picture, 1921
Collae of colored papers, fabrics, printed labels and pictures,
pieces of wood, etc., and gouache on cardboard background
36 1/8 x 27 3/4 in.
The Museum of Modern Art, New York
Kleine DADA Soirée, 1923
Print colour lithograph
29.8 x 29.8cm image/sheet
Art Gallery of New South Wales, Sydney, Australia
Merzbild Kijkduin, 1923
Mixed media on panel
74,3 x 60,3 cm
Museo Thyssen-Bornemisza, Madrid
Merz, 1925
Cut and pasted papers
43.5 x 36.2 cm
The Museum of Modern Art, New York City
Oval Construction, 1925
Wood, plywood, nails, and paint
Yale University Art Gallery, New Haven, Connecticut
Maraak, Variation I (Merzbild), 1930
Oil and assemblage of objects on board
46 x 37 cm
Guggenheim Museum, New York City
Opened by Customs, 1937
Paper collage, oil and pencil on paper
Tatte Gallery, London
Merzbilde med regnbue (Merzpicture with Rainbow), c. 1939
Assemblage
61 3/8 x 47 5/8 in. (155.9 x 121 cm)
Private collection
Coloured wood construction, 1943
Oil, wood on wood
34 x 28 cm
Kurt and Ernst Hannover Foundation
Out of the dark, 1943
Collage on paper
23.0 x 19.0cm image/sheet; 37.0 x 25.5cm original paper
Art Gallery of New South Wales, Sydney, Australia
Hitler Gang, c. 1944
Collage
13 5/8 x 9 5/8 in. (34.7 x 24.5 cm)
Private collection
For Kate, 1947
Collage
3 7/8 x 5 1/8 in. (9.8 x 13 cm)
Private collection
Wood on Wood, 1947
Assemblage
Private collection
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Quadrados sobrepostos e rectângulos de papel matizado e texturado, recortes de jornal e outros materiais são combinados de molde a produzir composições dinâmicas. Merz foi um termo que artista alemão Schwitters aplicou à sua arte a partir dos anos 20 do século passado. Merz era um termo sem sentido, retirado ao acaso de um jornal, que se tornou a divertida marca do artista, a qual ele traduziu por liberdade. Trabalhou com os dadaístas, um anárquico grupo de artistas que fugia dos métodos das belas-artes. As primeiras colagens de Schwitters, datadas de 1918, conduziram à paixão pela recolha de lixo - bilhetes de autocarro, rolhas, sapatos gastos - para criar "a arte a partir da não-arte". Nas suas três Merzbau (casas Merz) - construções e Hanôver, Noruega e Londres - ele encheu casas inteiras com objectos achados. Estas são agora largamente reconhecidas como as percursoras da Arte da Instalação. Schwitters não recebeu qualquer reconhecimento durante toda a sua vida. Só recentemente a sua imensa contribuição para o vanguardismo foi devidamente apreciada. Kurt Schwitters nasceu em Hanover (ALE) em 1887 e morreu em Ambleside (GN) em 1948.
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Kurt Schwitters was born Herman Edward Karl Julius Schwitters on June 20, 1887, in Hannover. He attended the Kunstgewerbeschule in Hannover from 1908 to 1909 and from 1909 to 1914 studied at the Kunstakademie Dresden. After serving as a draftsman in the military in 1917, Schwitters experimented with Cubist and Expressionist styles. In 1918, he made his first collages and in 1919 invented the term “Merz,” which he was to apply to all his creative activities: poetry as well as collage and constructions. This year also marked the beginning of his friendships with Jean Arp and Raoul Hausmann. Schwitters’s earliest Merzbilder date from 1919, the year of his first exhibition at Der Sturm gallery, Berlin, and the first publication of his writings in the periodical Der Sturm. Schwitters showed at the Société Anonyme in New York in 1920. With Arp, he attended the Kongress der Konstructivisten in Weimar in 1922. There Schwitters met Theo van Doesburg, whose De Stijl [more] principles influenced his work. Schwitters’s Dada [more] activities included his Merz-Matineen and Merz-Abende at which he presented his poetry. From 1923 to 1932, he published the magazine Merz. About 1923, the artist started to make his first Merzbau, a fantastic structure he built over a number of years; the Merzbau grew to occupy much of his Hannover studio. During this period, he also worked in typography. Schwitters was included in the exhibition Abstrakte und surrealistische Malerei und Plastik at the Kunsthaus Zürich in 1929. The artist contributed to the Parisian review Cercle et Carré in 1930. In 1932, he joined the Paris-based Abstraction-Création group and wrote for their organ of the same name. He participated in the Cubism and Abstract Art and Fantastic Art, Dada, Surrealism exhibitions of 1936 at the Museum of Modern Art, New York. The Nazi regime banned Schwitters’s work as “degenerate art” in 1937. This year, the artist fled to Lysaker, Norway, where he constructed a second Merzbau. After the German invasion of Norway in 1940, Schwitters escaped to Great Britain, where he was interned for over a year. He settled in London following his release, but moved to Little Langdale in the Lake District in 1945. There, helped by a stipend from the Museum of Modern Art, he began work on a third Merzbau in 1947. The project was left unfinished when Schwitters died on January 8, 1948, in Kendal, England.
Guggenheim Collection - Schwitters Biography
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