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Kurt Schwitters

1887–1948

艺术家及其所处世界

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。

  1. 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
    Contemporary Collection of The Cleveland Museum of Art · 图像:公共领域(CC0)
    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
  2. 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
    Dudley P. Allen Fund · 图像:公共领域(CC0)
    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
  3. 03

    1924

    前往来源查看作品

    参考条目 · 本站不展示图像

    1924

    梅尔茨素描

    材料与技法
    纸上彩纸、印刷纸剪贴及纽扣
    作者归属与角色
    博物馆归属记录
    收藏与来源
    纽约现代艺术博物馆
跨作品比较

比较材料、风格与色彩

比较1920年拼贴、1923年石版及1924年梅尔茨素描。现成纸带来已有色彩、文字及肌理,印刷则把构成节奏转为可重复图像。必须区分印出的纹理与真正贴上的碎片;这一组并未涵盖流亡时期。

材料

这种材料能产生什么效果?请区分设计、原物与后来的印本或铸件。

风格

比较视点、边缘、构图及笔迹。哪些选择持续存在,哪些发生变化?

色彩

比较调色、对比及光线,同时考虑载体、印刷、表面处理与老化。

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。

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