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Schwitters, like other Dadaists, creates a completely new art, even doing away with the distances between the arts, as in these "pictoscupltures". He uses to refer to his creations the word Merz, which as he tells us himself, he obtained cutting a piece from a word in the advertisement "Commerz und Privat-Bank", which he had used in a picture of abstract forms. For Schwitters, "Merz is form" and he does not "use only paint, canvas, brush and palette, but all the materials perceptible by sight and all the necessary utensils", obtained from the waste of society. With it the painter affirms his most absolute rejection of the representation of nature and vindicates the work as an independent and random construction. With the joint contemplation of these two "Merz" we can understand how Schwitters gradually integrated into the Dadaist aesthetics of the "objet trouvé" a greater rigour of construction which becomes established over the years, and to which is not foreign the influence of Mondrian's Neoplasticism, with a reduction of the range of colours to the pure ones, and those of the Russian Suprematists.
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