Dadaism was a short and intense movement in the art of the young 20th century. Under the impressions of the First World War, an artistic scene was formed that spoke out against both the war of horror and the loss of values in society. The war brought a horror to Europe that had not been imaginable until then. The artists of Dadaism were loud. Gone were the days when art was considered an expression. Dadaism wanted to provoke and used all the means at their disposal to do so. The collage was the element that was taken from the visual arts. This form of design suited the Dadaists. To destroy something conventional and create something new from it, often without making sense of it.
Kurt Schwitters followed the conservative path with his first steps in art. After completing his art studies in Dresden, he was called up for military service. Schwitters suffers from epilepsy and perceives the events of the war from an external position. His impressions are sufficient for him to turn to Dadaism after four months of service. Schwitters creates his first collages from randomly found rubbish and the contents of wastepaper baskets. Schwitters founds a group of artists in his home town of Hanover. He calls the group "Merz", inspired by the name of a bank. In doing so, he demonstrates his rejection of social change and capitalism. Kurt Schwitters produces the so-called "Merz pictures". A series of collages with recurring figures. Figures with which Schwitters feels emotionally connected. The composition of the collages is probably created without the factual aspects of the artistic language. The term Merz art is coined. Schwitters' interpretation of the term was: "Everything was broken anyway, and it was necessary to build something new from the shards. But this is MERZ." An art that should be unconditional and gave the artist the greatest possible freedom of expression. Merz art is abstract and transcends the boundaries of known media. Schwitters saw his collages as a rebirth of unnoticed and worthless things.
Kurt Schwitters used all forms of expression available to him. A volume of poetry under the name "Anna Blume" became his trademark. It is almost a watermark that Schwitters uses in many of his works. Small stickers repeatedly provide references to his prose, which have made Schwitters famous beyond the borders of his home town. Despite his intensive efforts to promote Dadaism, Schwitters occupies an isolated position within the European art scene. There are links to Dutch artists, as well as to Hans Arp and Tristan Tzara. Schwitters has achieved international success. Nevertheless, he remains an individual artist. In 1937, political events in Germany forced Schwitters to emigrate. His art was considered degenerate and Kurt Schwitters fled first to Norway and later with his family to England.
Dadaism was a short and intense movement in the art of the young 20th century. Under the impressions of the First World War, an artistic scene was formed that spoke out against both the war of horror and the loss of values in society. The war brought a horror to Europe that had not been imaginable until then. The artists of Dadaism were loud. Gone were the days when art was considered an expression. Dadaism wanted to provoke and used all the means at their disposal to do so. The collage was the element that was taken from the visual arts. This form of design suited the Dadaists. To destroy something conventional and create something new from it, often without making sense of it.
Kurt Schwitters followed the conservative path with his first steps in art. After completing his art studies in Dresden, he was called up for military service. Schwitters suffers from epilepsy and perceives the events of the war from an external position. His impressions are sufficient for him to turn to Dadaism after four months of service. Schwitters creates his first collages from randomly found rubbish and the contents of wastepaper baskets. Schwitters founds a group of artists in his home town of Hanover. He calls the group "Merz", inspired by the name of a bank. In doing so, he demonstrates his rejection of social change and capitalism. Kurt Schwitters produces the so-called "Merz pictures". A series of collages with recurring figures. Figures with which Schwitters feels emotionally connected. The composition of the collages is probably created without the factual aspects of the artistic language. The term Merz art is coined. Schwitters' interpretation of the term was: "Everything was broken anyway, and it was necessary to build something new from the shards. But this is MERZ." An art that should be unconditional and gave the artist the greatest possible freedom of expression. Merz art is abstract and transcends the boundaries of known media. Schwitters saw his collages as a rebirth of unnoticed and worthless things.
Kurt Schwitters used all forms of expression available to him. A volume of poetry under the name "Anna Blume" became his trademark. It is almost a watermark that Schwitters uses in many of his works. Small stickers repeatedly provide references to his prose, which have made Schwitters famous beyond the borders of his home town. Despite his intensive efforts to promote Dadaism, Schwitters occupies an isolated position within the European art scene. There are links to Dutch artists, as well as to Hans Arp and Tristan Tzara. Schwitters has achieved international success. Nevertheless, he remains an individual artist. In 1937, political events in Germany forced Schwitters to emigrate. His art was considered degenerate and Kurt Schwitters fled first to Norway and later with his family to England.
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