Kurt Schwitters

br May 6 , 2007Research (1887-1948 ) is gener ally ack nowledged as the twentieth century s greatest master of collage . more(prenominal)over as collage is essentially the medium of irony , so Schwitters life is characterized by paradox and enigma . Born in Hanover , the only child of affluent parents , he was a lone wolf in his youth , plagued by epileptic attacks , introverted and unfixed , and as a student at the Dresden Academy of dodge he proved as apt as he was unimaginative . Although his contact with Expressionist artworkists in Hannover in 1916 gave him more confidence to develop his own style , even his close to impressive acts (such as Mountain Graveyard ) were lower-ranking more than imitations of his contemporariesA major challenge came in 1918 with the invitation to exhibit at Herwarth Walden s notorious Sturm gallery in Berlin , for Walden had contacts with most progressive European artists , including the Zurich Dada group . Schwitters found further stimulus in the activities of the revolutionary Berlin Dadaists (The generally accepted story that Schwitters was rejected by Berlin Dada is , however not true ) But it was Hans Arp , himself a pioneer of collage , who first persuaded Schwitters to abandon his sterile academic techniques . Schwitters first known collage , Hansi , is strongly reminiscent of Arp s work , and soon afterwards he began making assemblages from scraps of retract , including one he called the Merz picture . Subsequently he referred to all his work as MerzA Sturm exhibition of his new style in mid-1919 , which showed his abstract Merz works and some whimsical Dada drawings (such as The inwardness goes from Sugar to Coffee ) caused a furore among the critics , as did his Anna Blume verse form published in the same year . Schwitters thrived on in the public eye(predicate) opposition , and from 1919 to 1923 he created a succession of Merz pictures which are now seen as his greatest contri notwithstandingion to twentieth century art .

These pictures carry an inner tension that derives from the sensitive juxtaposition of induction and realism aesthetics and rubbish , art and life , and their ignorant dynamism is one of the characteristics of Merz . Schwitters stands alone in the consummate instruction of colour , the delicate balance of content and form and the confused interplay of coarse and filigree displayed in Merzbild Rossfett the almost minimalist Revolving , apply the barest of materials , conveys a mysterious shadowy rotating cosmos extending far beyond the bounds of the frame : in Construction for Noble Ladies , the insecure equilibrium of the disparate elements is stabilised only by the side-on enactment of Schwitters angelic and long-suffering wife HelmaSchwitters revolution came late - he was 32 at the time of the first Merz exhibition - but Merz changed his life radically . He suddenly found himself at the forefront of contemporary art and quickly allied himself with the daring , including various European Dada groups , the Bauhaus (Schlemmer , Klee , Kandinsky , Feininger , Gropius ) and the new generation of Contructivists from east Europe and the Netherlands (Lissitsky , Moholy-Nagy , Theo van Doesburg . By now his fantasy knew no bounds and over...If you want to get a full essay, revise it on our website: Ordercustompaper.com

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