Kurt Schwitters: Quotes about art

Kurt Schwitters was German artist. Explore interesting quotes on art.
Kurt Schwitters: 64 quotes1 like

“I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.... wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art.”

Kurt Schwitters

Source: 1940s, I is Style (2000), p. 47 : in a letter to Käthe Steinitz (24 June 1945)

“One needs a medium. The best is, one is his own medium. But don't be serious because seriousness belongs to a passed time. This medium, called you yourself will tell you to take absolutely the wrong material. That is very good, because only the wrong material used in the wrong way, will give the right picture, when you look at it from the right angle. Or the wrong angle. That leads us to the new ism: Anglism. The first art starting from England [the country of Schwitters' forced stay, when he wrote this quote], except the former shapes of art.”

Kurt Schwitters

Source: 1940s, I is Style (2000), pp. 100-101 : in: 'That is my confession I have to make MERZ' (1940 – 1946), Kurt Schwitters.

“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

“Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the artwork.... they will receive my new work as they always have when something new presents itself: with indignation and screams of scorn.”

Kurt Schwitters

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

“Please help me, in order to get us invited [to the United States]. Helma [his wife] will then come later and I will work there and soon pay back the people who lend me the money. But finally I must get out of this internment [because the English mistrusted Schwitters, being a German] and further away from Norway, I want to be with all of you. Please get it done quickly and write to me about the outcome. Maybe my art is in danger and I, of course, with it. At last I would like to work on my abstracts again and find appreciation for them. Who knows what will happen?”

Kurt Schwitters

Source: 1940s, I is Style (2000), p. 46 : in a letter (22 October 1941) to Käthe Steinitz, written from the internment camp on Isle of Man, England.

“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.

“In his introduction to the recently published 'Dada Almanach' [1920], Huelsenbeck writes: 'Dada is making a kind of propaganda against culture'. Thus Huelsendadaismus is politically oriented, against art and against culture. I am tolerant and allow everyone his own view of the world, but am compelled to state that such an outlook is alien to Merz. Merz aims, as a matter of principle, only at art, because no man can serve two masters…. Merz energetically and as a matter of principle rejects Herr Huelsenbeck's inconsequential and dilettantish views on art.”

Kurt Schwitters

1920s
Source: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 40, note 16

“In the war [World War 1. ] things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready... I felt myself freed and had to shout my jubilation out to the world. Out of parsimony I took what I could find to do this, because we were now an impoverished country. One can even shout with refuse, and this is what I did, nailing and gluing it [gluing his collage art] together. I called it 'Merz'; it was a prayer about the victorious end of the war, victorious as once again peace had won in the end; everything had broken down in any case and new things had to be made out of the fragments; and this is Merz.”

Kurt Schwitters

quote, 1930
As quoted in Kurt Schwitters, das literarische Werk, ed. Friedhelm Lach, Dumont Cologne, 1973 – 1981, Vol. 5, p. 335.
1930s

“I know that I am an important factor in the development of art and shall forever remain so. I say this with great emphasis, so that one can not say, at a later date: 'The poor fellow had no inkling of how important he was'. No I am no fool, nor am I timid. I know full well that the time will come for me and all other important personalities of the abstract movement, when we will influence an entire generation. However, I fear that I shall not experience this.”

Kurt Schwitters

1930s
Source: 'I and my purpose', in the journal 'Merz', no. 21, (1931)

“Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie.”

Kurt Schwitters

Manifesto Proletkult, 1923
Schwitters, in discussion with political Dadaists as Huelsenbeck.
1920s

“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

“In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N. Y. I would like to go to Germany for restoring the Merzbau... Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio... Or would you prefer that you own with me half and half?..”

Kurt Schwitters

Source: 1940s, I is Style (2000), p. 48 : in a letter (30 April 1946) to Oliver Kaufmann, (department of Painting and Sculpture of the MOMA, New York).

“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.

“It is not the word that is the original material of poetry, rather the letter.
Word is:
1. Composition of letters
2. Sounds
3. Description (meaning)
4. Vehicle for idea associations
Art is uninterpretable, unending; material must be unequivocal in a consistent formation.”

Kurt Schwitters

1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.

“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

Kurt Schwitters

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

“Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?”

Kurt Schwitters

In a letter to w:Galka Scheyer, 24 July 1937; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s
Source: http://www.sprengel-museum.de/bilderarchiv/sprengel_deutsch/fotos/merzbau1933_530.jpg

“When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.”

Kurt Schwitters

Source: 1940s, I is Style (2000), p. 100 : in 'My art and My live' (1940 – 1946), Kurt Schwitters.

“I cannot make a living out of art and I now occupy myself with a variety of things. Of course, I continue to paint and to nail, but in particular I write grotesques and art reviews for newspapers, I organize evenings [a. o. with Theo van Doesburg ] and draw commercial art for newspapers.”

Kurt Schwitters

In a letter to w:Galka Scheyer, January 1926; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 34.
1920s

“So I spit back at you, Huelsenbeck
But where you spit venom, I spit art
I laugh at you -- HA HA --
I laugh at you”

Kurt Schwitters

1920s, Huelsendada', Kurt Schwitters, 1920

“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