Kurt Schwitters: Artist

“Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i. e., no disturbing distraction during creation occurs here.”

Kurt Schwitters

1920s
Source: the article 'i ein Manifest' (or 'i-manifest'), Kurt Schwitters, in Merz 2. 1923; as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 116

Art , Idea , Nature , Loss

“A museum that really wants to promote modern art might give the artist a guaranty, on certain conditions, so that he can get on with his life and his creations. Or do you believe that the museum is more interested in the artist's death, in order to see the price of his paintings go up?”

Kurt Schwitters

Source: 1940s, I is Style (2000), p. 45 : in a letter (11 November 1940) to Käthe Steinitz, sent from the internment camp on Isle of Man, England.

Life , Death , Art , Painting

“Merz stands for the freedom of all fetters... Merz also means tolerance towards any artistically motivated limitation. Every artist must be allowed to mould a picture out of nothing but blotting paper, for example, provided he is capable of moulding a picture.”

Kurt Schwitters

1920s
Source: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters, das literarische Werk, ed. Friedhelm Lach, Dumont Cologne, 1973–1981, Vol. 5 p. 77.

Motivation , Freedom

“Well, art is not communist -- not bourgeois either
It's no club and has no party line
Not wild nights make an artist -- not drugs or manifestos
It's art -- HA HA -- that's no secret
The one who makes art -- he's the artist..”

Kurt Schwitters

1920s, Huelsendada', Kurt Schwitters, 1920

Secret , Art , Night

“Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.... the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.”

Kurt Schwitters

1910s
Source: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

Art , Imagination , Painting

“Kurt Schwitters is the inventor of Merz and I, and aside of himself, he recognizes no one as a Merz artist or an I artist with highest regards.”

Kurt Schwitters

1920s
Source: 'Die Blume Anna', a poem of Kurt Schwitters, published in 'Consistent Poetry Art' contribution to 'Magazine G', No. 3, ed. Hans Richter, 1924

“The custom official was desperate, he did not know whether they were pictures, wood ware or even arms [about his abstract collage art, Schwitters exported to France in 1939]. I got the impression he had an inner struggle with two options, either to have me arrested or to call the lunatic asylum. Finally he did not want to make a fool of himself, and accepted they were paintings, especially because another customs official knew me personally and confirmed that I was an artist.”

Kurt Schwitters

In a letter to Henriette Schwitters, (16 June 1939); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s

Fools , Art , Painting , Personality