kurt schwitters original fine art prints
In this work Schwitters continues his exploration of abstract collage, creating an intricate and complex work that incorporates many different materials and pieces. Merz Picture 32 A. The Cherry Picture is remarkable for its abstract design and its abandonment of any sense of illusionistic hierarchy. An interplay of colors (light and dark areas) as well as added materials such as wood and scraps of paper, suggest depth and there is a total abandonment of traditional one-point perspective. Especially notable is the use of elements featuring text, such as product labels and newspaper clippings. These examples of commercial culture provoked the viewer to consider the relationship between art and everyday life.
This work, featuring mono-color painted rectangles laid out side by side in a way that emphasizes the flatness of the canvas, demonstrates Schwitters’ grasp of a more abstract style in the late 1920s, one indicative of his growing interest in De Stijl. It is the irregular arrangement of these shapes and the lively and expressive brushwork used to describe them that distinguishes the work from de Stijl’s strictly linear and expressionless compositions. The artist’s formal evolution is additionally noted in the way the artist alters his found materials, painting over their surfaces in an effort to deemphasize their origins as elements from the outside world.
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Schwitters was well-liked in the camp and was a welcome distraction from the internment they were suffering. Fellow internees would later recall fondly his curious habits of sleeping under his bed and barking like a dog, as well as his regular Dadaist readings and performances.   However, the epileptic condition which had not surfaced since his childhood began to recur whilst in the camp. His son attributed this to Schwitters’ depression at internment which he kept hidden from others in the camp.
Schwitters published a periodical, also called Merz, between 1923 and 1932, in which each issue was devoted to a central theme. Merz 5 1923, for instance, was a portfolio of prints by Hans Arp, Merz 8/9, 1924, was edited and typeset by El Lissitsky, Merz 14/15, 1925, was a typographical children’s story entitled The Scarecrow by Schwitters, Kätte Steinitz and Theo van Doesburg. The last edition, Merz 24, 1932, was a complete transcription of the final draft of the Ursonate, with typography by Jan Tschichold. 
Measure is a collage made from two printed elements. One is a fragment cropped from an advertisement that shows part of a fine line illustration of a woman leaning on a rail on the deck of a ship. It is stuck on an off-print of an advertisement taken from a magazine. Cropped and placed on its side, the advertisement shows the skirts and feet of two elegant female models and some incomplete text. The text reveals part of an address and the word ‘Maas’ (‘measure’ in German) in dense black lettering.
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Schwitters had often visited Norway, starting work on a second Merz construction in his holiday cottage on the island of Hjertøyain 1932. The relief work on the walls of this structure closely resembles the Elterwater Merz Barn. Parts of it still survive. When he moved to Norway permanently, Schwitters began a thirdMerzbau in a small wooden house behind his main home in Lysaker, near Oslo. Fleeing to Britain in 1940, he also left this construction unfinished. Fire destroyed it in 1951.
In 1947 Schwitters started work on the Elterwater Merz Barn, planning the finished environment for the first time. Schwitters’ materials reflected his immediate surroundings: in the Lake District they included natural materials like flowers, branches and stones. Some collaged objects were concealed with plaster and paint. Schwitters intended to cover all four walls with plaster relief, displaying existing works in the nooks. Realizing his health was failing, he concentrated on finishing the one wall displayed here. Schwitters died just months into the Merz Barn’s construction. His ‘life’s work’, as he described it, would never be finished.