“Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers… How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.”

— Hans Arp

In 'Franz Müllers Drahtfrühling – Memories of Kurt Schwitters Hans Arp 1956; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken - commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam - NAI Publishers, Rotterdam 2000, pp. 140-141
1950s

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Hans Arp42

Alsatian, sculptor, painter, poet and abstract artist 1886–1966

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“My name is Schwitters, Kurt Schwitters... I'm a painter and I nail my pictures... I'd like to be accepted into the Dada Club”

Kurt Schwitters (1887–1948) German artist

Quote in his letter to Hans Richter, c. 1916; as quoted in 'Hannover-Dada' by Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, commissioned by w:Rudi Fuchs, director of the Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 151
1910s

“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 (1887–1948) German artist

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

“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 (1887–1948) German artist

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

“One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Source: Karel Appel – the complete sculptures,' (1990), p. 79 'Quotes', K. Appel (1989)

“Whatever became of Kurt Schwitters' novel 'Franz Müllers Drahtfrühling' [Franz Müller's Wire Spring] several chapters of which we composed together? Is it buried under the bomb ruins of his house on Waldhausenstrasse in Hannover? For hours, Schwitters and I sat together and spun dialogue, in rhapsody. He took these writings and channeled them into his novel…We sat together again, writing 'Franz Müllers Drahtfrühling':
H. A.: The nightingales have had enough of your hymnal Karagösen. Play violin on parrots, but avoid the women red hood ans snow widow.
K. Schw.: Should I pe-trify something for you? Or would you like play cry together?
H. A.: Should we wash our tears or drown them?
K. Schw.: You are a sipsnipper, Since when do your diamonds bark?
H. A.: The water is getting hard. A fruit cries out loud and gives birth to a fish.
K. Schw.: I'll p-ut it in the sea, or should I st-ab you with it?”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Dialogue between Hans Arp and Kurt Schwitters, (1956) with introduction in: Franz Müllers Drahtfrühling-- Memories of Kurt Schwitters; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, commissioned by w:Rudi Fuchs, 2000, pp. 139-140
1950s

“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 (1887–1948) German artist

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.

“I have two principle aims, two life works. The second is my sonata [Schwitters' 'UrSonata' - a long sound poem of 35 minutes]”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : quoted by Margareth Miller to Oliver Kaufmann [the first principle aim is his Merzbau]

“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 (1887–1948) German artist

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

“Relationships never break cleanly. Like a valuable vase, they are smashed and then glued back together, smashed and glued, smashed and glued until the pieces just don't fit together anymore.”

Marilyn Manson (1969) American rock musician and actor

Source: The Long Hard Road Out of Hell

“I don't know the first thing about holding together a family, especially one that resembles an heirloom vase, shattered but glued back together for its beauty, and no one mentions that you can see the cracks as plain as day.”

Jodi Picoult book Songs of the Humpback Whale

Source: Songs of the Humpback Whale

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