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	FLUXEUROPA: KURT SCHWITTERS
		KURT SCHWITTERS' MERZBAU: THE CATHEDRAL OF EROTIC MISERY
		The Merzbau was destroyed during an allied bombing raid in 1943, and Schwitters died in poverty and obscurity in England in 1948.
		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.
	www.fluxeuropa.com /kurt_schwitters.htm (1609 words)

	Kurt Schwitters Merzbau in Hannover 1933
		The enormous significance which Schwitters attached to this work is evidenced by the fact that, from 1923 onwards, he devoted himself to it assiduously and, despite all untoward circumstances, began it three times: first in Hannover, then in Norway in 1937, and finally in exile in England in 1947.
		Schwitters came to terms with the political reality of the outside world by withdrawing within himself, by fleeing into the personal, domestic world of artistic fantasy.
		Schwitters verstand sein Gebilde nicht nur in formaler Hinsicht als ein Gesamtkunstwerk, nein, auch der soziale und ideologische Geist der alle Künste umfassenden mittelalterlichen Kathedrale ist in seinem Bau angesprochen.
	www.merzbau.org /Schwitters.html (1243 words)

	Untitled Document (Site not responding. Last check: 2007-10-20)
		The works of Kurt Schwitters were influenced by mainly Hans Arp, who persuaded him to disregard his common academic art techniques and branch off to his own style.
		Kurt Schwitters is a man of many strange ideas and creations.
		Kurt Schwitters said that anything that had importance to him was contained in the Merzbau.(Bakotin).
	tiger.towson.edu /~plavoi1/Kurt_Schwitters_Page.htm (419 words)

	Kurt Schwitters - MSN Encarta
		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.
		The careful linear organization of the collages Schwitters completed after 1922 shows the influence of the Dutch group known as De Stijl (the style).
		Schwitters also constructed three memorable versions of his Merzbau (Merz building)—a gigantic conglomeration of trash and useless objects.
	encarta.msn.com /encnet/refpages/RefArticle.aspx?refid=761569241 (155 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 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.
		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.
	www.artnet.com /Magazine/reviews/oisteanu/oisteanu5-22-03.asp (1048 words)

	Stunned Art
		The 'suspicious' activities of Schwitters and many of his close friends and colleagues finally forced Schwitters to leave for Norway in January of 1938, barely avoiding arrest (officially stated as a request for an interview) by the Gestapo.
		While the resurgence of interest in Schwitters' Merzbau has likely been the result of the project's formal characteristics (characteristics that evoke the potential of a variety of contemporary theoretical positions in architecture) it is also due to the relevance of the underlying themes that inform Schwitters' construction.
		Schwitters' own pronouncements on the project were relatively few and far between, and the various anecdotes of individuals who saw the construction over the course of its development are not only fragmentary, but are often times based on the imperfect recall of distant memory.
	www.stunned.org /kdeE.htm (1931 words)

	Kurt Schwitters (via CobWeb/3.1 planetlab1.tamu.edu) (Site not responding. Last check: 2007-10-20)
		Kurt Schwitters is generally acknowledged as the twentieth century's greatest master of collage.
		Schwitters was a master of subtle colour and precarious balance, and during the twenties the influence of Constructivism, with its clinical reliance on primary colour and clear geometrical forms, was not always advantageous to his work.
		Kurt Schwitters' Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard.
	www.artchive.com.cob-web.org:8888 /artchive/S/schwitters.html (1374 words)

	Kurt Schwitters Biography
		Kurt Schwitters attended the Kunstgewerbeschule in Hanover from 1908 to 1909 and subsequently studied at the Kunstakademie in Dresden.
		Schwitters died in Ambleside (Westmorland) on 8 January 1948.
		Schwitters was far ahead of his time and strongly influenced the art of assemblage of the neo-dadaist artists, like Robert Rauschenberg for example.
	www.schwitters-kurt.com (364 words)

	Cut And Paste: Kurt Schwitters
		Kurt Schwitters was certainly the odd man out of German Dada.
		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.
		Like most German artists, Schwitters was driven out of Germany by the Nazis, and after a spell in Norway, he came to live in the English Lake District where he died in 1948.
	homepage.ntlworld.com /davepalmer/cutandpaste/schwitters.html (370 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.
		Kurt Schwitters' reputation as a major German dadaist meant nothing when he arrived in Britain as an alien in 1940.
		Here, Schwitters is placed in the broad context of world culture, the avant-garde and political history, stretching from 1880 to the new attitudes of the 1960s, and incorporating Milton's words on Liberty.
	www.vam.ac.uk /vastatic/wid/exhibits/gaberbocchus-press/kurt.html (629 words)

	E.L.T. Mesens - a tribute to Kurt Schwitters - 1958
		Kurt Schwitters' name was known to me in the very early twenties through reproductions of his work and texts appearing in many European avant-garde magazines — these publications were very numerous in those days of genuine creation and dearth of public understanding — and I admired his work almost at once.
		Schwitters' constructions and collages of the German period were, in general, more dramatic in colour and accent than his work of the English period.
		Schwitters recited with all his magic and afterwards he was charming, never allowing himself to be discouraged.
	homepage.mac.com /emmapeel/mesens/schwitters.html (3185 words)

	Kurt Schwitters (Site not responding. Last check: 2007-10-20)
		Kurt Schwitters (Hanover 1887 – Ambleside 1948) studied at the Dresden and Berlin academies between 1908 and 1914 and in 1918 studied architecture at the Hanover Polytechnic.
		Schwitters also produced poetic texts made up of fragments of words and phrases taken from the most banal everyday language or counterpointed by elementary sounds, for example, Die Sonate in Urlauten, which was performed at the Bauhaus in 1924 and published in the magazine “Merz” in 1932.
		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.
	www.pac-milano.org /ing/schwitters/Default.htm (423 words)

	Kurt Schwitters - the Merzbarn (Site not responding. Last check: 2007-10-20)
		Schwitters began producing his collages using rubbish and found objects; tickets, stamps, tobacco labels, newspaper, sweet wrappers, spools, cogs, wire, anything he could find.
		When Schwitters was forced to flee Norway in 1940 as a result of German invasion, the construction was not recognised as part of the Merz series, and remained so until it was destroyed by fire in 1993.
		As a result of a portrait commission, Schwitters met local farmer, Harry Pierce, who agreed to allow Schwitters the use of an old barn on his land.
	www.ncl.ac.uk /hatton/collection/schwitters (730 words)

	Collezione Peggy Guggenheim - Artisti - Kurt Schwitters (1887-1948) (Site not responding. Last check: 2007-10-20)
		Kurt Schwitters was born Herman Edward Karl Julius Schwitters on June 20, 1887, in Hannover.
		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.
		Schwitters was included in the exhibition Abstrakte und surrealistische Malerei und Plastik at the Kunsthaus Zürich in 1929.
	www.guggenheim-venice.it /italiano/06_artisti/schwitters.htm (445 words)

	Littoral
		Kurt Schwitters, the pioneering German Dada artist, arrived in England in 1940, and eventually settled in Ambleside in the Lake District.
		There Schwitters began to construct his greatest ‘lifework’, known as the Merzbarn, using found materials and a construction technique invented for his two earlier ‘Merz’ installations, one at his home in Hanover, the other in Norway, neither of which survived the war.
		Schwitters’ installations are now recognised as key works in the development of 20th century art.
	www.littoral.org.uk /HTML01/pro_kurtschwitters.htm (757 words)

	12Schwitters-intro
		The Kurt Schwitters Archives in the Sprengel Museum Hannover were set up in 1994 and contain the most comprehensive documentation of the artistic work of Kurt Schwitters (1887 - 1948).
		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.
	www.sprengel-museum.de /v1/englisch/12schwarchiv/12schwitters-intro.html (607 words)

	"Past Masters: Kurt Schwitters, Merzmeister" - Gallery Walk Guide, June 2004
		When the revolution reached the solidly bourgeois city of Hanover, Kurt Hermann Eduard Karl Julius Schwitters was working as a mechanical draftsman in the WŸlfel ironworks outside the city, while painting and writing poetry in his spare time.
		For Schwitters, Merz meant assemblage, that is to say, a principle or method of working rather than a specific genre or medium of art.
		For Schwitters, it was a kind of struggle that admitted no final or single victory, but had to be fought out daily as new surroundings, new styles, new influences kept on altering the context in which he worked.
	www.gallerywalk.org /PM_Schwitters.html (666 words)

	Schwitters - AMAM
		Schwitters chose materials that were typical and readily available in postwar England, and avoided patterns or textures in favor of drab, flat, and nearly colorless shades of brown and grey.
		For example, Schwitters mixed a high-art image with wastepaper in his Die heilige Nacht van Antonio Allegri, gen. Corregio, worked through by Kurt Schwitters, 1947, collage, 52.9 x 38.8 cm, private collection; reproduced in Kurt Schwitters.
		Schwitters seems to have identified with Shelley, who--failed by British society--left England in 1814.
	www.oberlin.edu /allenart/collection/schwitters.html (1292 words)

	Kurt Schwitters at the Armitt 2
		Schwitters painted this portrait seated beside one of his summerhouse sheds, about half a mile from his house at Chapel Stile.
		Harry had bought Cylinders Farm, a stretch of rough pasture and woodland a few years before and with two assistants was planting trees and shrubs from all parts of the world, contriving an Eden in the wilderness.
		Schwitters needed all of his failing strength to try to complete the Merzbarn, sadly never finishing this portrait of Ida. The work is of major interest to students of KS’ work as an example of how he laid out the main structure of his portraits and as his final portrait.
	fp.armitt.plus.com /kurt_schwitters_at_the_armitt_2.htm (502 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.
		As Schwitters observed, the Dutch are born dadas; all Ottawa got was the tulips.
	www.primititootaa.com /articles/zerogravity.html (1377 words)

	Kurt Schwitters - Search Results - MSN Encarta
		Kurt Schwitters - Search Results - MSN Encarta
		Schwitters, Kurt (1887-1948), German artist, a member of the Dada movement, best known for the collages and sculptures he assembled from rubbish,...
		Related to both the dadaists and surrealists, German artist Kurt Schwitters restricted his art solely to collage.
	encarta.msn.com /Kurt_Schwitters.html (112 words)

	Kurt Schwitters (Site not responding. Last check: 2007-10-20)
		Kurt Schwitters was born in Hannover in 1887, the son of a well off boutique owner.
		Kurt Schwitters was the odd man out of Dada - not officially a dadaist but still vital to the dada movement.
		Due to this Huelsenbeck refused Schwitters entry to Club Dada, saying that his face was too borgeois to be a Dadaist.
	www.spa.ex.ac.uk /drama/dada/page14.html (390 words)

	Kurt Schwitters (1887 - 1948) Artwork Images, Exhibitions, Reviews
		After studying at the Dresden Academy, Kurt Schwitters worked as a designer, architect, typographer, writer, and publisher while pursuing his painting.
		With the rise of Nazism, Schwitters moved to Norway and then finally to England in 1940, where he died.
		Kurt Tuch, Penthesilea by Heinrich von Kleist (Berlin: Julius Bard, [ca.
	wwar.com /masters/s/schwitters-kurt.html (1318 words)

	Art Gallery of New South Wales: Kurt Schwitters Acquisition
		The German artist Kurt Schwitters (1887-1948) started his career as an expressionist painter before turning to wood constructions and paper collages in 1917.
		Included in Hitler's Entartete Kunst (degenerate art) exhibition, Schwitters, like many of his contemporaries, left Germany in 1937, initially moving to Norway and three years later, as the German army advanced, he fled again to Scotland only to be arrested and interned as a an enemy alien.
		The shift in Schwitters' collages from an emphasis on composition to a subtle, yet unmistakable, social comment, is the most important development to emerge in the work of his late, 'in exile' period.
	www.artgallery.nsw.gov.au /media/archives_2005/kurt_schwitters (446 words)

	Kurt Schwitters, Jerome Rothenberg, Pierre Joris: Poems Performance Pieces Proses Plays Poetics (pppppp)
		Although Kurt Schwitters (1887-1948) is increasingly recognized as one of the great visual artists of the twentieth century—a recognition reconfirmed in 1985 by a highly acclaimed retrospective at New York's Museum of Modern Art—his achievements as one of the major poets and theorists of Modernism have not received the same degree of attention.
		Schwitters worked with and developed more new forms and genres than almost any poet of his time.
		To present Schwitters' astounding range, the poet-translators of this volume have selected poems, "proses," performance pieces, and manifestos; included complete major works, such as "Augusta Bolte" and "Ur Sonata"; offered selections from Schwitters' plays; and provided a sampler of the collaged and word-filled paintings (some in full color).
	www.temple.edu /tempress/titles/766_reg.html (683 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.
	www.exactchange.com /completecatalogue/ecbooks/schwitters.html (160 words)

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