|
| |
| | Kurt Schwitters - Wikipedia, the free encyclopedia |
 | | Schwitters published his own Merz magazine from 1923-32 and in the late 1920s became a well-known typographer; his best-known work was the catalogue for the Dammerstocksiedlung in Karlsruhe. | | | Schwitters worked in several genres and mediums, including Dada, Constructivism, Surrealism, poetry, sound, painting, collage, sculpture, typography and what came to be known as installations. | | | Thanks to Schwitters' lifelong patron and friend Katherine Dreier, his work was exhibited regularly in the USA from 1920 onwards. |
|
http://en.wikipedia.org/wiki/Kurt_Schwitters
(774 words)
|
|
| |
| | FLUXEUROPA: KURT SCHWITTERS |
| | Schwitters pursuit of eclecticism, incorporating other artists' styles, is in the spirit of postmodern pastiche, while his use of found objects and ready-mades (à la Duchamp) - which he regarded as artistic shortcuts (pg 117) - further subvert artistic authority and originality. | | | Schwitters' personal continuation of Dada, Merz embraced poetry and architecture, as well as collages and sculpture, and was advanced by Schwitters through his magazine, Merz. | | | Schwitters simply did not consider social and political critique worthy of artistic deliberation, and he remained aloof from the use of art as a political tool. |
|
http://www.fluxeuropa.com/kurt_schwitters.htm
(1582 words)
|
|
| |
| | artnet.com Magazine Reviews - Kurt Schwitters, Avant-God |
| | "Kurt Schwitters (1887-1948): Collages, Paintings, Drawings, Objects, Ephemera, Apr. 1-May 23, 2003, at Ubu Gallery, 416 East 59th Street, New York, N.Y. "In speaking of Schwitters," wrote the Dada poet Tristan Tzara, "it is difficult to separate his literary activity from his pictorial, the sculptor from the agitator. | | | Schwitters' work is clearly the forerunner of that of Robert Rauschenberg, R.B. Kitaj, concrete poetry, Arte Povera, Joseph Beuys, Georg Baselitz and untold other artists and movements. | | | Schwitters nurtured a persistent dream of "Gesamt Kunstverk," a union of all the arts, a theatrical spectacle in which the spirit of Merz would prevail in a special setting with music. |
|
http://www.artnet.com/Magazine/reviews/oisteanu/oisteanu5-22-03.asp
(1048 words)
|
|
| |
| | Kurt Schwitters' Hannover Merzbau |
| | Kurt Schwitters is best known for his collages and assemblages and for his association with the dada art movement in the 1920's and thirties. | | | Schwitters undoubtedly saw, and was influenced by this. | | | Ernst Schwitters, his son, has said that it started with his father's interest in the relationship between the pictures he hung on the walls and the sculptures on the floor. |
|
http://www.stunned.org/mz1.htm
(267 words)
|
|
| |
| | MSN Encarta - Kurt Schwitters |
| | Kurt Schwitters (1887-1948), German artist, a member of the Dada movement, best known for the collages and sculptures he assembled from rubbish, and to which he referred by the nonsensical name Merz. | | | Born in Hannover, Schwitters began painting as an expressionist, but in 1919 he turned to collage. | | | Discarded train tickets, newspapers, bus transfers, and other such objects were incorporated into Schwitters's works and were exploited by the artist for their color, texture, and surprise value. |
|
http://encarta.msn.com/encyclopedia_761569241/Kurt_Schwitters.html
(208 words)
|
|
| |
| | U B U W E B :: Kurt Schwitters |
| | Schwitters thrived on public opposition, and from 1919 to 1923 he created a succession of Merz pictures which are now seen as his greatest contribution to twentieth century art. | | | Schwitters' revolution came late - he was 32 at the time of the first Merz exhibition - but Merz changed his life radically. | | | Schwitters' first known collage, Hansi, is strongly reminiscent of Arp's work, and soon afterwards he began making assemblages from scraps of refuse, including one he called the Merz picture. |
|
http://www.ubu.com/sound/schwitters.html
(2278 words)
|
|
| |
| | Stunned Art |
| | This is clearly the case with Schwitters, who, despite highly publicized exhibitions and the appropriation of his works in support of various movements and individuals, remains marginal to the recognized project of modernism. | | | Schwitters' art disputes this imperative and hence remain largely peripheral to the artistic and critical imagination. | | | Perhaps the most difficult aspect of Schwitters' approach to his art was the fact that the work was both developmental and incorporative. |
|
http://www.stunned.org/kdeE.htm
(1931 words)
|
|
| |
| | Kurt Schwitters in England: 1940 - 1948 |
| | In 1958, this was the first publication of Kurt Schwitters' English poems and prose, and — apart from an important article by Robert Motherwell (in Dada Painters and Poets, NY 1951) — Stefan's Themerson's introduction was the first significant English text on the artist. | | | Schwitters had met and befriended Edith Thomas ('Wantee', as he called her), and from 1944 on they lived together. | | | Themerson first met Schwitters when they happened to sit next to each other at a meeting of the PEN Club held to celebrate 300 years of John Milton's Aeropagitica, at the French Institute, London, 1943. |
|
http://www.vam.ac.uk/vastatic/wid/exhibits/gaberbocchus-press/kurt.html
(629 words)
|
|
| |
| | Cut And Paste: Kurt Schwitters |
| | The centre of the Schwitters' universe was his house in Hanover, and as of 1923, possibly influenced by the architectural concerns of Russian Constructivists like El Lissitzky, he began to construct his ultimate work of art. | | | Into the individual "grottos" of the Merzbau Schwitters placed a bizarre collection of objects gathered from his friends and fellow artists, anything from a stolen sock to a broken pencil. | | | This has now been purchased by Newcastle University and was lovingly transferred to a gallery there where it can still be seen. |
|
http://homepage.ntlworld.com/davepalmer/cutandpaste/schwitters.html
(370 words)
|
|
| |
| | 12Schwitters-intro |
| | Kurt Schwitters was one of the outstanding artists of the 1920s. | | | For some 40 years Ernst Schwitters, whose starting point was his father's voluminous legacy, with which he had been entrusted, worked on a photographic and written documentation of all the work known to him. | | | In 1993 the artist's son, Ernst Schwitters, handed over the archives concerning his father's artistic Òuvre to the Sprengel Museum Hannover, on condition that the museum continue to add to them and look after them. |
|
http://sprengel-museum.de/v1/englisch/12schwarchiv/12schwitters-intro.html
(607 words)
|
|
| |
| | Kurt Schwitters |
| | His works were presented in the Cubism and Abstract Art and Fantastic Art, Dada and Surrealism exhibitions, organised in 1936 by the Museum of Modern Art in New York. | | | In the same year, Schwitters began to construct the building-environment Merzbau, a kind of open sculpture made of different materials he had accumulated in his house in Hanover between 1923 and 1932. | | | The first issue of this magazine which he founded and edited was published in 1923 (the magazine, which was wound up in 1932, also had stimulating effects on the new printing works of the time, especially on the graphics of the Bauhaus). |
|
http://www.pac-milano.org/ing/schwitters
(423 words)
|
|
| |
| | schwitters.html |
| | Kurt Schwitters (1887-1948), inventor of his own personal branch of Dadaism called "Merz," is best known for his collages and for his monumental constructions called Merzbau. | | | But Schwitters’ stated goal was "to erase the boundaries between the arts" &; he said his poems were "a kind of drawing" while his collages "demand to be read." | | | This collection, culled from five volumes of Schwitters’ writings published in Germany, introduces the total work of art that is Merz via Schwitters’ words rather than images. |
|
http://www.exactchange.com/completecatalogue/ecbooks/schwitters.html
(160 words)
|
|
| |
| | Kurt Schwitters [1887-1948] - Featured Artist Lot on Artfact.com |
| | By 1922 Schwitters' Merz aesthetic of assemblage had grown to reflect the fundamental organising principles behind the geometric abstraction of much Russian Constructivist art and the non-objective painting of de Stijl painters like Piet Mondrian and Van Doesburg. | | | One of the most austere and geometric of Schwitters' collages from this period, Er clearly reflects the growing influence of constructivist thinking on his work and in particular the de Stijl paintings of Theo Van Doesburg. | | | NOTES Er (He), a Merz collage from 1922 is a truly groundbreaking work that reflects the development of Schwitters' Merz method of assemblage into an 'elemental' art of construction. |
|
http://www.artfact.com/features/styleLot.cfm?iid=tV5Sn0qn
(882 words)
|
|
| |
| | Kurt Schwitters at Zero Gravity |
| | In his 1920 essay "Merz" and elsewhere, Schwitters set forth a program for gesamtkunstwerk, a fusion of all the arts, that sounds uncannily like the marriage of poetry, music, movement and visual art that First Draft was striving for and, a few times, seemed to achieve. | | | Kurt Schwitters spent years as a middling art student in various colleges before discovering his style and naming it Merz. | | | Schwitters, an artist, became famous for writing a book of poetry. |
|
http://www.primititootaa.com/articles/zerogravity.html
(1377 words)
|
|
| |
| | Guggenheim Collection - Artist - Schwitters - Biography |
| | Schwitters was included in the exhibition Abstrakte und surrealistische Malerei und Plastik at the Kunsthaus Zürich in 1929. | | | 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. | | | There, helped by a stipend from the Museum of Modern Art, he began work on a third Merzbau in 1947. |
|
http://www.guggenheimcollection.org/site/artist_bio_144.html
(388 words)
|
|
| |
| | Schwitters - AMAM |
| | Kurt Schwitters (also shown at San Antonio, Tex., Marian Koogler McNay Art Museum; Pasadena Art Institute; Manchester, N.H., The Currier Gallery of Art; Washington, D.C, The Phillips Collection; Minneapolis, Frederick R. Weisman Art Museum, University of Minnesota; Louisville, Ky., J. Speed Art Museum). | | | From 1931 Schwitters began spending much time in Norway, emigrating there in 1937 and painting landscapes, portraits, and still lifes to support himself. | | | Schwitters created the quiet, somewhat melancholy collage Grey and Yellow in England the year before he died. |
|
http://www.oberlin.edu/allenart/collection/Schwitters.html
(1292 words)
|
|
| |
| | Art in America: Kurt Schwitters at Ubu - New York - exhbition of the artist's work |
| | This museum-quality display of over 60 of Kurt Schwitters's collages, paintings and drawings from the 1910s through the '40s offered a palpable sense of what he meant by an art that would comprehend at once a multitude of expressive forms: literary, painterly, typographic and architectural. | | | Kurt Schwitters at Ubu - New York - exhbition of the artist's work | | | He elaborated this idea through the principle of what he heralded as merz--a nonsense term derived from a torn bank slip--in which all manner of materials would be exploited and where no hierarchy of the value of those elements would determine how they were ultimately used in the final composition. |
|
http://www.findarticles.com/p/articles/mi_m1248/is_1_92/ai_112131289
(479 words)
|
|
| |
| | Guardian Unlimited Books Review Pick-up Schwitts |
| | As a poet Schwitters is probably best known for two works, "An Anna Blume", "the best known and most popular German poem of the 1920s", according to Rothenberg and Joris, and "Ur Sonata", his 35-minute long performance poem, which according to the editors, "is to sound poetry what Joyce's Ulysses is to the 20th-century novel". | | | Fearing for the future, Schwitters went to live in Lysaker, near Oslo, in Norway, where he painted portraits and landscapes for tourists. | | | At home, in his parent's house, he started to build the work for which he became renowned: a sculptural column, his Merzbau, a tower-cum-collage, which he called his "monument to Dada", a "cathedral of erotic misery" and, rather more prosaically, "an abstract sculpture into which people can go". |
|
http://books.guardian.co.uk/review/story/0,12084,951533,00.html
(815 words)
|
|
| |
| | Kurt Schwitters - the Merzbarn |
| | As the culmination of his past Merz experiments, the Merzbarn is considered to be a powerful statement from an artist of major importance, whose work derives from, and makes an essential contribution to, some of the cardinal movements of 20th century art. | | | He attempted to integrate his work with the existing structural elements, constructing around the environment in which he lived, to transform the banal into works of art. | | | After leaving London, Schwitters moved to Little Langdale, near Ambleside in Cumbria, North East England. |
|
http://www.ncl.ac.uk/hatton/collection/schwitters
(732 words)
|
|
| |
| | All About Kurt Schwitters |
| | Wherever it came from, Schwitters started publishing his works and other dadaist's works in his magazine aptly called "Merz". | | | However, Schwitters kept on painting into the 30s. | | | The artists began to move to different expressionistic views of the world, mainly to the offshoot of surrealism (see Dali and Surrealism for more information about surrealism). |
|
http://members.tripod.com/pdreverend/kurts.html
(647 words)
|
|
| |
| | Kurt Schwitters -- Encyclopædia Britannica |
| | Soon after World War I Schwitters was attracted by the emerging Dada school, a nihilistic literary and artistic movement dedicated to the destruction of existing aesthetic values. | | | Collection of poems based on the life and art of the renowned modern German collage artist, Kurt Schwitters. | | | Among the most lyrical and inventive works in this magpie medium are the so-called Merz collages by Kurt Schwitters. |
|
http://www.britannica.com/eb/article-9066278
(661 words)
|
|
| |
| | Kurt Schwitters |
| | The more Merz progressed the more it differed from Dada, It became an organic art, Merz began as a style of painting and collage, it then covered Schwitters poetry and plays, finally Merz encompassed Schwitters himself - "Schwitters was the complete work of art". | | | Berlin Dada revolved around the powerful figure of Richard Huelsenbeck, who saw Dada as a political weapon - Schwitters had little time for politics, he was more interested in art. | | | From 1909-14 he attended the Dresden art school where he began his artistic career painting slavishly naturalistic pictures. |
|
http://www.spa.ex.ac.uk/drama/dada/page14.html
(390 words)
|
|
| |
| | Merz: Kurt Schwitters |
| | All the while Schwitters was `recharging the batteries' of his creativity by painting more conventional portraits and landscapes, but like the architect van Doesburg and other artists such as Mondrian, he aspired to create art that would be an all-encompassing, total environment. | | | Born in Hanover in 1887, Kurt Schwitters is one of the major and most individual figures in modern art. | | | But as we see in 563A, Schwitters continued to work in England on Merz works and on his more traditional paintings, and before his death he began a third Merz-bau at Ambleside near his Lake District lodgings. |
|
http://www.roland-collection.com/rolandcollection/section/18/563.htm
(344 words)
|
|
| |
| | Kurt Schwitters |
| | urt Schwitters was known to his acquaintances in Ambleside as a kind and eccentric artist in exile, most were completely unaware of the enormous influence he had on 20th Century art. | | | Paintings by the insane were mixed amongst those by modern German artists [including Schwitters] for ridicule. | | | Born in Hanover, Kurt Schwitters developed his own style of abstract art which he called Merz (from an advertisement for |
|
http://fp.armitt.plus.com/kurt_schwitters.htm
(1027 words)
|
|
| |
| | Uroxscores index |
| | Parts of these scores were seen in the 2004 exhibition of Jack Ox's complete Ursonate painting, which was shown in conjunction with Poland's first Kurt Schwitters' exhibition. | | | The first movement of the painting installed at the Contempary Art Center in New Orleans in 2004, and also the fourth movement. | | | Both exhibitions were made possible by the extremely generous contributions of the Auswärtiges Amt Deutchland and IFA (Institut für Auslandsbeziehungene e.V.). |
|
http://www.jackox.net/pages/Ursonate/UrIndex.html
(229 words)
|
|
| |
| | Haber's Art Reviews: Frank Stella and Kurt Schwitters |
| | Frank Stella and Kurt Schwitters both cherish leftovers like elements of a lost language. | | | In 1919 Kurt Schwitters cut four letters from an advertisement, for use in a collage. | | | The more Stella or Schwitters lets a medium speak for itself, the harder it gets to know who is speaking. |
|
http://www.haberarts.com/schwitt.htm
(2285 words)
|
|
| |
| | Kurt Schwitters paintings. |
| | Kurt Schwitters at the Fine Arts Museums of San Francisco |
|
http://www.theo-zimmerman.freeserve.co.uk/schwitters.htm
(82 words)
|
|
| |
| | Amazon.ca: In the Beginning is Merz: From Kurt Schwitters to the Present Day: Books |
| | The curators/editors set out to demonstrate the artist's continuing influence on many strands of contemporary art by presenting large-format illustrations of 230 works in all media by Schwitters as well as 80 more pieces by 32 other artists. | | | I Is Style belongs in university collections serving art history departments; In the Beginning Was Merz is highly recommended for all public and academic libraries that collect books on 20th-century art. | | | The ten short essays offer both biographical overview and investigations of his legacy to movements such as pop art, action art, installation art, and sound poetry. |
|
http://www.amazon.ca/exec/obidos/ASIN/3775709517
(582 words)
|
|
| |
| | Kurt Schwitters Artworks and Fine Art at arthistorynet.com |
| | Kurt Schwitters Artworks and Fine Art at arthistorynet.com | | | Summer Reading: The Recreation of Language in Twentieth-Century Art | | | Search the Art History Database for artists, titles, media, year, and other indepth information: |
|
http://www.absolutearts.com/masters/s/schwitters-kurt.html
(289 words)
|
|
| |
| | Kurt Schwitters, 1887/1949 |
| | , Kurt Schwitters' poem translated into English by the artist. | | | Thirty years of the artist's collage arranged chronologically to alow full appreciation of his development in the medium. | | | "My name is Kurt Schwitters...I am an artist and I nail my pictures together..." |
|
http://www.collagegallery.com/schwitters_retro.htm
(263 words)
|
|
| |
| | Colin Morton: The Merzbook: Kurt Schwitters Poems |
| | The Merzbook: Kurt Schwitters Poems is an innovative, narrative poem loosely based on the life and art of the renowned modern German collage artist, Kurt Schwitters. | | | 1918 - Schwitters' art develops rapidly through expressionism to abstraction and his first "Merz" drawings and collages. | | | 1920 - In the essay "Merz," published in Der Sturm magazine, Schwitters introduces the principle of assemblage applied to all the arts; answers the attacks on him in Huelsenbeck's Dada Atlmanach. |
|
http://capa.conncoll.edu/morton.merzbook.html
(4787 words)
|
|
| |
| | Gwendolyn MacEwen Park Memorial - Readers |
| | Bök has also earned many accolades for his virtuoso performances of sound poetry (particularly the Ursonate by Kurt Schwitters). | | | His conceptual artworks (which include books built out of Rubik cubes and Lego bricks) have appeared at the Marianne Boesky Gallery in New York City as part of the exhibit Poetry Plastique. |
|
http://www.gwenpark.org/readers.htm
(1198 words)
|
|
| |
| | Kurt Schwitters Online |
| | Original works by Kurt Schwitters available for purchase at art galleries worldwide | | | The Urban Poet as a Scavenger: Kurt Schwitters' collages receive a long-overdue retrospective, 1985 article by Robert Hughes | | | Member of the Abstraction-Creation Group in Paris, 1930s. |
|
http://www.artcyclopedia.com/artists/schwitters_kurt.html
(475 words)
|
|
| |
| | Kurt Schwitters on artnet |
| | Past exhibitions at Ubu Gallery: Kurt Schwitters: Collages, Paintings, Drawings, Objects, Ephemera April 1 – May 23, 2003 | | | Find works of art, auction results & sale prices at galleries and auctions worldwide. |
|
http://www.artnet.com/ag/fineartthumbnails.asp?aid=15199
(42 words)
|
|
| |
| | Kurt Schwitters |
| | One of his poems, "An Anna Blume", the first line of which is "Oh Du, Geliebte meiner 27 Sinne" (Oh, thou most beloved of my 27 senses) became the title work in the collage I was involved in in Leverkusen, Germany, in 1992-93. | | | Kurt Schwitters was an artist, graphic designer, typographer, set designer and poet who moved to Hannover in 1919 after completing his studies at the Berlin Akademie. |
|
http://www.peak.org/~dadaist/English/Graphics/schwitters.html
(128 words)
|
|
| |
| | Kurt Schwitters |
| | Now, Schwitter's is tinkering with Rapheal as did Rejlander, only this time he's using a reproduction of the painting itself and then collaging on top of it. | | | Maybe it's too small to make anything out. | | | How does this change the way that the original is seen? |
|
http://leda.ucsd.edu/~bwalker/teach/collage/schwitters.html
(46 words)
|
|
| |
| | AskOxford: Kurt Schwitters |
| | As one would expect, there are many picture of his work as well. | | | Why not make use of a resource Kuwitter (as he called himself) would probably have enjoyed and transformed: the word wide web. | | | You can not only get a vivid visual insight on the internet – there's also an opportunity to get an aural impression of Schwitter's sound poetry by listening to Kuwitter's Ursonate: http://www.ubu.com/sound/schwitters.html. |
|
http://www.askoxford.com/languages/culturevulture/germany/schwitters
(523 words)
|
|
| |
| | - SHOP.COM |
| | This unframed print comes with a 100% satisfaction guarantee from EaselWeasel, the Web's fastest growing art retailer, with over 200,000 open-edition and limited-edition prints and posters to choose from. | | | 'Spring Picture,' Kurt Schwitters Print/Poster, Size: 28.5 inches x 22.5 inches |
|
http://www.shop.com/op/aprod-p21519429
(285 words)
|
|
| |
| | Electronic Poetry Center: Sound Poetry |
| | Kurt Schwitters: Simultangedicht kaa gee dee, 1919; WW, 1922; boo, 1926; naa, 1926; bii bull ree, 1936; Obervogelsang, 1946; Niesscherzo e Hustenscherzo, 1937; Cigarren, 1921; The real disuda of the nightmare, 1946 (Performed by Trio Exvoco [Hanna Aurbacher, Theophil Maier, and Ewald Liska]) | | | 38th and 39th Merzgedichte in Memoriam Kurt Schwitters (1989) | | | A brief essay on Russian Futurism, from Switch |
|
http://epc.buffalo.edu/sound/soundpoetry.html
(1292 words)
|
|
| |
| | Untitled |
| | The Kurt Schwitters Exhibition In Mexico City - Summer 2003 | | | There are 34 images here from this show click on number to see them... |
|
http://www.kurtschwitters.org
(24 words)
|
|
| |
| | Find in a Library: Kurt Schwitters |
| | Subjects: Schwitters, Kurt, -- 1887-1948 -- Criticism and interpretation. | | | To find this item in a library, enter a postal code, state, province, or country in the field above. |
|
http://worldcatlibraries.org/wcpa/ow/84dbfa84e042b42fa19afeb4da09e526.html
(53 words)
|
|
| |
| | Schwitters: The Holy Night by Antoni Allegri |
| | Die heilige Nacht von Antonio Allegri gen. Correggio, worked | | | through by Kurt Schwitters (The Holy Night by Antoni Allegri, |
|
http://artchive.com/artchive/S/schwitters/holynght.jpg.html
(87 words)
|
|
| |
| | Kurt Schwitters - Compare Prices & Reviews at Smarter |
| | Kurt Schwitters - Compare Prices & Reviews at Smarter | | | Your use of this Web site constitutes acceptance of the Smarter.com Privacy Policy and Terms & Conditions |
|
http://www.smarter.com/books-1/product/kurt_schwitters-948191
(180 words)
|
|
|
Topic: Kurt Schwitters