By Elizabeth Burns Gamard
German artist Kurt Schwitters started developing the Merzbau, a mix of university, sculpture, and structure, in a nook of his studio in Hannover, Germany in 1920. often known as the Cathedral of Erotic distress, this used to be Schwitters's deepest global. it will definitely took over his complete dwelling quarters, the condo above, and a part of the backyard, and used to be divided into rooms-the Biedermeier Room, the de Stijl Room, the Goethe Cave, the Mondrian Cave, and the Mies Cave, between others. It used to be destroyed in the course of an Allied bombing raid in 1943.
Although the Merzbau is of crucial significance in realizing the early smooth stream, this is often the 1st in-depth research in English of this constitution. Elizabeth Burns Gamard discusses its actual evolution and its value in the artist's oeuvre. She additionally investigates its greater relation to German Expressionism and romanticism and to serious considered the time. This publication bargains an in-depth research of a unmarried constitution via unique records, drawings, and important exam of the layout procedure.
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Additional resources for Kurt Schwitters Merzbau: The Cathedral of Erotic Misery
14 INTRODUCTION 25 The last photographs of the Merzbau were taken by Ernst Schwitters after his father had already fled to Norway. 26 For additional descriptions of the ongoing transformation of Schwitters’ residence and atelier, see Dietmar Elger, “Die Enstehung des Merzbaus,” in Kurt Schwitters Almanach 1982: Postkriptum, hrsg. Michael Erloff, (Hannover: Kulturamtes der Stadt Hannover [Postkriptum Verlag], 1982), pp. 28-38. In a letter to Hannah Höch written in January of 1944, Helma Schwitters wrote that the Merzbau “needed to extend beyond the studio, and the balcony was completely glassed for this purpose .
27 Cited by Elderfield, Kurt Schwitters, p. 146. On page 155, Elderfield notes Ernst Schwitters’ recollection of the central room of the Merzbau, a room containing the column described as Die Kathedrale des erotischen Elends (The Cathedral of Erotic Misery), a title Schwitters eventually used to describe the entire project. , during the 1940s as part of a letter requesting grant monies to aid in a reconstruction of the piece. 29 Webster, Kurt Merz Schwitters, p. 270; cit. Elderfield, p. 157. ” A later shown, entitled “Dada, Surrealism, and Their Heritage,” contains references to Schwitters and the earlier exhibitions.
See also Dorothea Dietrich, The Collages of Kurt Schwitters (Cambridge: Cambridge University Press, 1993), pp. 164-205. For a comparison to John Soane’s Museum, see Patricia Falguières, “Désoeuvrement de Kurt Schwitters,” in Kurt Schwitters (Paris: Èditions du Centre Pompidou, 1994), pp. 152-159. 3 As Gwendolen Webster observes, this list of artists is not definitive. Indeed, with each successive generation of artists the individuals and movements that purport to bear Schwitters’ influence expands.