生平与创作经历
施维特斯在一战后的汉诺威发展“梅尔茨”，结合废弃材料、版画、诗歌及构造环境，跨越单一媒介而始终关注形式组织。纳粹迫害使他先后流亡挪威及英国，此处选例集中于较早且记录明确的实验时期。
生涯作品选读
所选作品并非完整目录。推断生涯顺序之前，请先阅读日期范围及作者归属。
- 01
1920
1920
小舞蹈
- 材料与技法
- 拼贴
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
博物馆原文说明
With collages of densely interwoven scraps of paper gleaned from daily life, Schwitters produced dynamic compositions in which the interaction of the materials becomes a kind of dance. Notice here the way the color red "dances" among the subdued tones of white, gray, and ochre.
馆藏文字 · 克利夫兰艺术博物馆 · CC0 - 02
1923
1923
《梅尔茨3》版画集：第一幅
- 材料与技法
- 石版画
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
博物馆原文说明
Dada was a literary and art movement that began in Europe during World War I. It was characterized by cynicism, expressions of outrage at the conditions of the world, and rebellion against all established artistic conventions and traditional art forms. In 1919 Kurt Schwitters developed his own version of Dada named Merz which took the form of poetry, public recitals of nonsense, and collages. The verbal juxtapositions of unrelated words in his poems had a visual equivalent in compositions made up of bits of paper—urban debris that the artist avidly collected from the city streets. According to Schwitters, "Merz was the second syllable of Kommerz . . . it was cut out and glued on from an advertisement for the Kommerz und Privatbank (Commercial and Private Bank)." The six lithographs in the Merzmappe were made at the Molling printing plant where Schwitters salvaged recently printed material like patterned pieces of paper, parts of illustrations, cigarette wrappers, advertisements, and letters. He made collages of these freshly printed papers while they were still wet with oily printing ink and transferred the images to the lithographic stone.
馆藏文字 · 克利夫兰艺术博物馆 · CC0 - 03
1924
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参考条目 · 本站不展示图像
媒介、笔触与色彩
媒介与表面
现成纸、印刷碎片及小物件，让拼贴具有已有生活痕迹的表面。
笔迹与结构
直角安排及层叠碎片，把废弃材料转为有意构图。
色彩与光线
已有颜色、字迹及污痕成为构图资源，而非中性背景。
资料来源与延伸阅读
本项目原创教育性阐释；馆藏原文另行注明。每件选例均链接来源，未展示图像的参考条目不加入比较时间轴。