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         Schwitters Kurt:     more books (100)
  1. Kuwitter. by Kurt Schwitters, 2004-02-29
  2. Anna Blume und ich by Kurt Schwitters, 2004-08-31
  3. I Build My Time by Kurt Schwitters, 2002-01
  4. PPPPPP: Poems Performances Pieces Proses Plays Poetics by Kurt Schwitters, 2004-02-02
  5. Reading Visual Poetry After Futurism: Marinetti, Apollinaire, Schwitters, Cummings (Literature and the Visual Arts) by Michael Webster, 1995-12
  6. The Triumph of Kurt Schwitters by A. B. Crossley, 2005-10-22
  7. Kurt Schwitters Merzbau: The Cathedral of Erotic Misery (Building Studies, 5) (Volume 0) by Elizabeth Burns Gamard, 2000-04-01
  8. Kurt Schwitters by John Elderfield,
  9. Kurt Schwitters: Portrait from Life by Kate T. Steinitz, 1968-12
  10. Kurt Schwitters: June 10-October 1, 1985, the Museum of Modern Art, New York by Kurt Schwitters, 1985
  11. Marc Chagall: Oeuvres sur papier (Works on paper) (French Edition) by Marc Chagall, 1984
  12. Kurt Schwitters: Catalogue Raisonne Volume 3 1937-1948 by Kurt Schwitters, 2005-11-15
  13. Kurt Schwitters: [exhibition] London, October 1972 [and] Zürich, November 1972-January 1973 by Kurt Schwitters, 1972
  14. Kurt Schwitters: Catalogue Raisonne: Volume I 1905-1922 by Kurt Schwitters, 2001-04

61. The Collages Of Kurt Schwitters: Tradition And Innovation. - Book Reviews | Art
The Collages of kurt schwitters Tradition and Innovation. book reviews from Art Bulletin, The in Arts provided free by Find Articles.
http://findarticles.com/p/articles/mi_m0422/is_n2_v77/ai_17239664
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The Collages of Kurt Schwitters: Tradition and Innovation. - book reviews
Art Bulletin, The June, 1995 by Roger Cardinal As a contribution to anglophone criticism of the work of Kurt Schwitters, Dorothea Dietrich's monograph adopts an approach midway between the panoramic inclusiveness of a John Elderfield and the sharp focus upon single images of an Annegreth Nill. This study of the artist's collages is not quite as thoroughgoing as its title might suggest, inasmuch as its chronological span extends only to the late 1930s and ignores the rich last decade of Schwitters's exile. On the other hand, Dietrich's detailed exposition of a cycle of forty watercolor drawings (the Aquarelle of 1919), along with her impressive forty-page description and interpretation of the Hanover Merzbau, reflect an expansive conception of what is meant by "collage." This semantic liberty is justified by that fundamental unity of outlook, that steady strand of Merz expressivity, which formed the artist's productions in so many different visual, not to mention literary, formats.

62. Kurt Schwitters [1887-1948] - Find, Price & Research On Artfact.com
kurt schwitters biography, auction, prices, literature and links. Find schwitters at global auctions.
http://www.artfact.com/features/viewArtist.cfm?aID=22814

63. Kurt Schwitters Criticism
schwitters, kurt 18871948. bombing during World War II. By the 1930s, schwitters was splitting his time between Germany and Norway, where he emigrated in
http://www.enotes.com/twentieth-century-criticism/schwitters-kurt
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Kurt Schwitters Criticism and Essays
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  • Schwitters, Kurt 1887-1948
    German artist, poet, essayist, dramatist, novelist, and short-story writer.
    INTRODUCTION
    Schwitters is recognized for his unique contribution to twentieth-century art and literature. Influenced by Dadaism, Cubism, German Expressionism, and similar avant-garde movements of the early twentieth century, Schwitters offered his idiosyncratic vision of postwar bourgeois culture in the form of collage, sculpture, experimental poetry and prose. Furnishing the neologism Merz —a name derived from a discarded scrap of paper bearing the phrase "Kommerz und Privatbank" ("Commerce and Private Bank")—to describe his projects, Schwitters produced a series of visual and literary works collected from the rubbish of the modern industrial landscape. In his Merz collages and assemblages Schwitters attached found fragments to one another in an apparently chaotic fashion. Using the concept of

    64. Kurt Schwitters MP3 Downloads - Kurt Schwitters Music Downloads - Kurt Schwitter
    kurt schwitters MP3 Downloads MP3.com offers legal kurt schwitters music downloads as well as all of your favorite kurt schwitters music videos.
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    65. Stunned Art
    The actual form and contents of kurt schwitters Hannover Merzbau remain somewhat With her 1997 biography on kurt Merz schwitters, Gwendolyn Webster
    http://www.stunned.org/kdeE.htm

    HOME
    ART
    Stunned is pleased to present an extract from Elizabeth Burns Gamard's KURT SCHWITTERS'
    MERZBAU
    THE CATHEDRAL OF EROTIC MISERY
    To view the footnotes click on the numbers. Footnotes will appear in a new window. Available from Princeton Architectural Press and Amazon.com

    INTRODUCTION: KURT SCHWITTERS' SEHNSUCHT
    Although completely destroyed by Allied bombing raids over Hannover in 1943, Kurt Schwitters' vast architectural construction, Die Kathedrale des erotischen Elends ("the Cathedral of Erotic Misery"), or Merzbau , remains one of the most compelling artworks of the twentieth-century. Recent interpretations of the Merzbau have attempted to explicitly situate the project in terms of contemporary issues in art and architecture, comparing Schwitters' construction with works as diverse as the Francesco Colonna's late-sixteenth century architectural parable Hypnerotomachia ("Love and Strife in a Dream") , also known as the Polyphili

    66. Kurt Schwitters@Everything2.com
    As Dada was coming to an end, kurt needed another word to signify what he did. He chose the word Merz which, as he pointed out, had no meaning.
    http://everything2.com/index.pl?node_id=76967

    67. El Lissitzky - Lasar Markovich Lissitzky - Kurt Schwitters - Ca 1924
    Dada, as it occurred in Hannover, was basically kurt schwitters oneman show. He d been denied membership in Berlin s Club Dada for not being political
    http://arthistory.about.com/od/dada/ig/DadaatMoMAHannover/dada_hannover_01.htm
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    Kurt Schwitters, ca. 1924
    Gallery Index Image of © The Museum of Modern Art, New York, Thomas Walther Collection View Full-Size El Lissitzky (Lasar Markovich Lissitzky; Russian, 1890–1941). Kurt Schwitters, ca. 1924. About the Show:
    Dada, as it occurred in Hannover, was basically Kurt Schwitters' one-man show. He'd been denied membership in Berlin's Club Dada for not being "political enough," so shrugged his shoulders and formed the Dada sub-movement of Merz (a fragment of the word "Kommerz," taken from a bank's newspaper advertisement and incorporated into an early piece). Though Merz' membership was limited to Schwitters, he often collaborated with other Dadaists. The Hannover section of Dada is notable for containing four of Schwitters' limited amount of large-scale assemblages and collages.
    The first major museum exhibition in the United States to focus exclusively on the brief but hugely influential movement, Dada surveys the six principal cities in which its artists worked between 1916 and 1924. This exhibition represents nearly fifty artists in over 400 pieces including paintings, collage, photomontage, readymade constructions, photographs and printed matter.

    68. Art Gallery Of New South Wales: Kurt Schwitters Acquisition
    Out of the Dark by German artist kurt schwitters (18871948) has been purchased by the Art Gallery of New South Wales with funds provided by the Ruth Komon
    http://www.artgallery.nsw.gov.au/media/archives_2005/kurt_schwitters
    EXHIBITIONS EVENTS COLLECTION RESEARCH ... ABOUT US DHTML_MENU_rel_path = 'http://www.artgallery.nsw.gov.au/squizlib/dhtml_menu/images/'; Current Releases Coming Archives 2007 Archives 2006 ... Archives 2000
    New Acquisition
    Kurt Schwitters Out of the Dark
    Out of the Dark has been purchased by the Art Gallery of New South Wales with funds provided by the Ruth Komon Fund in memory of Rudy Komon 2004.
    The German artist Kurt Schwitters (1887-1948) started his career as an expressionist painter before turning to wood constructions and paper collages in 1917. While being associated with not only the German Dada movement but also artists from the Bauhaus and de Stilj in Holland, Schwitters was always fiercely independent and avoided being absorbed into any of the avant-garde art movements that flourished in Europe between the wars. Living in somewhat bourgeois prosperity in Hanover, he was sometimes belittled by his Berlin Dada colleagues for his lack of enthusiasm with radical politics. Inventing the name "Merz" in 1920, he became, in effect, a one-man art movement, best known for his mastery of the art of collage and for his contribution to the history of radical typography through his various journals and other publications. 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. By 1943, he was living with his son and daughter-in-law in London, scraping together an income from commissioned portrait paintings and continuing to work on his 'Merz' collages and constructions.

    69. Kurt Schwitters Prints And Posters At Art.com
    kurt schwitters Prints and Posters. Find kurt schwitters Prints and Posters at Art.com.
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    70. "Past Masters: Kurt Schwitters, Merzmeister" - Gallery Walk Guide, June 2004
    kurt schwitters was born a rebel, writes one of his friends. He died a lyrical poet. The lyrical, in fact, was there from the start, and the rebellion
    http://www.gallerywalk.org/PM_Schwitters.html
    Kurt Schwitters
    Grosser Tanz, 1921
    (Large Dance)
    Merzbild mit Regnbue
    c. 1939
    (Merzpicture with Rainbow)
    Oorlog, 1930
    Past Masters: Kurt Schwitters, Merzmeister Scot Borofsky, editor
    The following excerpts are from Kurt Schwitters by John Elderfield (Thames and Hudson, 1985). For Schwitters, the new order was literally to be made from the remnants of the old. "Everything had broken down . . . new things had to be made from fragments." That winter of 1918, he started to make collages and assemblages from all kinds of refuse and found materials: "new art forms out of the remains of a former culture." In July 1919, when some of these works were exhibited at the Sturm gallery, Schwitters chose the word "Merz" to describe them. He was conscious that they were his most important and original works to date and wanted to separate them from anything that had ever been done before: Hannover Merzbau
    photographed c. 1930

    71. Kurt Schwitters Quotes
    2 quotes and quotations by kurt schwitters. My name is kurt schwitters I am an artist and I nail my pictures together. kurt schwitters
    http://www.brainyquote.com/quotes/authors/k/kurt_schwitters.html

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    Date of Birth:
    June 20
    Date of Death: January 8 Nationality: German Find on Amazon: Kurt Schwitters Related Authors: Josef Albers Rudolf Arnheim Hans Hofmann Max Beckmann ... Otto Dix My name is Kurt Schwitters... I am an artist and I nail my pictures together. Kurt Schwitters The picture is a self-sufficient work of art. It is not connected to anything outside. Kurt Schwitters Quotes RSS Feeds About Us Inquire Privacy Terms

    72. Kurt Schwitters In England: 1940 - 1948
    kurt schwitters cover) In 1958, this was the first publication of kurt schwitters English poems and prose, and — apart from an important article by Robert
    http://www.vam.ac.uk/vastatic/wid/exhibits/gaberbocchus-press/kurt.html
    Kurt Schwitters in England: 1940 - 1948
    Themerson first met Schwitters when they happened to sit next to each other at a meeting of the PEN Club held to celebrate 300 years of John Milton's Aeropagitica, at the French Institute, London, 1943. It seems that they quickly recognised shared values (not least in what Themerson called 'making havoc of the classification system'). They became friends. Schwitters paid visits to the Themersons at home in Maida Vale, and they remained in intermittent contact until his death in 1948. Kurt Schwitters' reputation as a major German dadaist meant nothing when he arrived in Britain as an alien in 1940. When after months of internment, principally in the Isle of Man, he came to London in 1941 he was still an outsider, and he remained virtually unknown as an artist outside a tiny avant-garde circle throughout his years in England. When Themerson met him, he was living with his son Ernst in Barnes. Schwitters had met and befriended Edith Thomas ('Wantee', as he called her), and from 1944 on they lived together. In 1945 they moved to Ambleside in the Lake District. In February 1958, Themerson gave a talk about Schwitters at the Gaberbocchus Common Room. The text of his talk became the introduction to this book. Themerson saw the art of collage as a political act in Schwitters' hands, an heroic gesture against conventions. The way that the Themersons designed the book also expresses this liberation, almost like a collage itself, with its various coloured papers and insertions. Stefan Themerson's irreverent improvisation with the Court Circular title and crest from The Times as a cover design is also very Schwitters-like, in idea and in technique.

    73. Schwitters, Kurt Hennessey + Ingalls Bookstore: Art, Architecture, Photography,
    Largest Bookstore dealing in the Visual Arts in North America. With books covering, Art, Architecture,Photography.landscaping,Gardening and much more.
    http://www.hennesseyingalls.com/hennessey/dept.asp?s_id=0&dept_id=6839

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