6.02.2004

A Sturm exhibition of his new style in mid-1919, which showed his abstract Merz works and some whimsical 'Dada drawings' (such as The Heart goes from Sugar to Coffee) caused a furore among the critics, as did his 'Anna Blume' poem published in the same year. Schwitters thrived on public opposition, and from 1919 to 1923 he created a succession of Merz pictures which are now seen as his greatest contribution to twentieth century art. These pictures carry an inner tension that derives from the sensitive juxtaposition of abstraction and realism, aesthetics and rubbish, art and life, and their innate dynamism is one of the characteristics of Merz. Schwitters stands alone in the consummate mastery of colour, the delicate balance of content and form and the intricate interplay of coarse and filigree displayed in Merzbild Rossfett; the almost minimalist Revolving, using the barest of materials, conveys a mysterious shadowy rotating cosmos extending far beyond the bounds of the frame: in Construction for Noble Ladies, the precarious equilibrium of the disparate elements is stabilised only by the side-on portrait of Schwitters' angelic and long-suffering wife Helma.

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