Often considered one of the foremost leaders of the collage movement of 20th century art, Kurt Schwitters worked in multiple genres, including dada, constructivism and graphic design. He was also a prolific writer of sound poetry, a sculptor and a typographer. He was born in Hanover, Germany, on June 20, 1887. He died on January 8, 1948.
Collage
Schwitters used scraps of garbage to create many of his collages. He was first exhibited at the Sturm Gallery in Berlin in 1918. This early work was heavily influenced by that of his mentor, Hans Arp. One of Schwitters' best-known collages from this period was his "Merz Picture." Following this exhibit, he began referring to all of his collages as being in the style of Merz.
Color
Schwitters is often viewed as a master of color and balance. He mainly used primary colors. He liked to pair complementary hot colors and neutrals. His 1925 painting "Untitled (Oval Construction)" featured an oval with black, blue and gray sections. Within this oval were two circles, one red and the other black.
Minimalism
Schwitters was often regarded as a minimalist. Most of his works contained very subtle changes or shapes that combined to form a succinct idea. One of his most famous minimalist paintings is the 1921 composition "Coloured Squares." Although this is often considered to be quasi-minimalist (a technique in which Schwitters was well versed), he began to experiment with more detail and more expanded content starting in 1924.
Constructivism
Schwitters began work on his famous structure, "The Merzbau," in 1924. He used techniques such as sharp and contrasting angles to transform eight rooms of his house into a work of art. He named the completed house "Cathedral of Erotic Misery" after its completion in 1933. Much of it was designed to be shocking and thought-provoking, with its strange peaks and unclear wall borders.
Sound Poetry
One of Schwitters' most famous sound poems is the "Ursonate," published in 1932. He abandoned the use of commonly recognized words in favor of simple syllables and throat sounds. For this reason, sound poetry, like the compositions of Schwitters, was intended entirely as a performance art rather than a literary work. Schwitters was a firm member of the German dadaists, and their sound poetry inclinations likely influenced this period of his artistic career.
