The Hardcover of the Kurt Schwitters: Color and Collage by Isabel Schulz at Barnes & Noble. FREE Shipping on $25 or more! Utep Spanish Program. Kurt Schwitters has 28 ratings and 3 reviews. Eddie said: I do not know when I first became aware of Kurt Schwitters and his art but I do know that when. Schwitters’ hallmark was hybridity. He started his career as a painter and then moved to collage, assemblage, and sculpture, all while never truly leaving painting. The German artist Kurt Schwitters (1887-1948) remains to this day one of the most influential figures of the international avant-garde. The exhibition presents a.

For the first time in 26 years, an overview of Kurt Schwitters’ work is touring the US, and the Berkeley Art Museum is the exhibition’s only west-coast venue. Kurt Schwitters: Color and Collage spans the artist’s output between 1918 and 1947, and includes collages, assemblages, sculpture, and the reconstruction of the architectural/sculptural installation Merzbau, which was destroyed when the Allies bombed Hannover in 1943. Half Life Source Content Gmod Download. Schwitters had a deep commitment to his practice and personal vision and was a model artist who never stopped experimenting.

His work has had an enormous influence on the generations of artists that came after him. Mz 601, 1923; paint and paper on cardboard; 17 × 15 in. © 2011 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Schwitters’ hallmark was hybridity. He started his career as a painter and then moved to collage, assemblage, and sculpture, all while never truly leaving painting behind. He was associated with and influenced by many movements, including Dada, Futurism, Cubism, and Constructivism, appropriating what he thought useful or provocative from each and synthesizing it with fragments from the next without becoming dogmatic about any of them. In 1919 Schwitters coined the term merz to describe his work.

The origin of this word was a scrap of an advertisement for a bank, and is taken from the German word kommerziell (commerce). He saw that snippet of a word as the embodiment of what he was trying to accomplish—to take a part of something and make it his own—and he organized his practice around it. As curator Lucinda Barnes explained, “The merz approach is to connect everything.” The works in the exhibition are mostly small, some no bigger than the palm of your hand. Schwitters clipped bits of words from various sources and mixed them with other materials such as paper, fabric, feathers, and paint.

Like the word merz from kommerziel, the words are fragmented. But rather than making them incomprehensible, this practice opens the text up, transforming each word from a linguistic fence to something looser and more associative. They sometimes provide clues to his interests and lifestyle. For example, a few collages attest to Schwitters’ more pleasurable habits: snippets of labels from wine bottles, chocolate wrappers, and tobacco often make appearances. The intimacy of each composition invites an almost forensic inspection, and I often found myself nearly fogging the glass with my breath in order to identify and understand each assortment of fragments so meticulously combined. Pink collage, 1940; collage, paper and tissue paper on pasteboard; 10 1/2 x 8 5/8 in.; Collection of David Ilya Brandt and Daria Brandt. 310 Carneval.