{"id":2040,"name":"","email":"","language_id":1,"permalink":"kurt-schwitters","deleted":false,"legal_status_id":47,"url_1":"http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5293\u0026page_number=3\u0026template_id=1\u0026sort_order=1","twitter":null,"category_id":28,"date_of_birth":"1887-01-01T00:00:00.000+00:17","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"","publishing_process_id":1,"can_log_in":false,"firstname":"Kurt Schwitters","lastname":"","annotation":"","url_2":"","url_3":"","cached_name":"Kurt Schwitters ","date_of_death":"1948-01-01T00:00:00.000+01:00","cached_name_asc":", Kurt Schwitters","stream_count_app":12,"gender":"other","platform_admin":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/471/large/kurt-schwitters-1927.jpg?1376396707","poster_credits":null,"media_count":1,"items_count":1,"translations":[{"locale":"en","short_description":"","description":"[Kurt Schwitters](http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5293\u0026page_number=3\u0026template_id=1\u0026sort_order=1) was a German painter, sculptor, designer and writer. He studied at the Kunstakademie in Dresden and served as a clerical officer and mechanical draughtsman during World War I. At first his painting was naturalistic and then Impressionistic, until he came into contact with Expressionist art, particularly the art associated with Der Sturm, in 1918. \r\n\r\nHe painted mystical and apocalyptic landscapes, such as *Mountain Graveyard* (1912; New York, Guggenheim), and also wrote Expressionist poetry for Der Sturm magazine. He became associated with the Dada movement in Berlin after meeting Hans Arp, Raoul Hausmann, Hannah Höch and Richard Huelsenbeck, and he began to make collages that he called *Merzbilder*. Similarly he began to compose his poetry from snatches of overheard conversations and randomly derived phrases from newspapers and magazines. \r\n\r\nThe most extraordinary project by Schwitters between the two World Wars was the *Merzbau*, a vast sculptural construction, which took over part of the artist’s home and studio in Hannover, begun in 1923 and unfinished when he left Germany in December 1936 (reconstruction, 1980–83; Hannover, Sprengel Mus.) In many respects the obsessional *Merzbau* may, even through photographs, present the fullest immediate image of Schwitters’s complex and contradictory art. It allows one to see the childlike and convoluted, the grandiose and bathetic, the abstract and the representational, the elated and troubled, all in one work.\r\n"},{"locale":"nl","short_description":"","description":"[Kurt Schwitters](http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5293\u0026page_number=3\u0026template_id=1\u0026sort_order=1) was een Duitse schilder, beeldhouwer, ontwerper en schrijver. Hij studeerde aan de Kunstakademie in Dresden en diende als een klerk en technisch tekenaar tijdens de Eerste Wereldoorlog. Aanvankelijk naturalistisch werd zijn schilderstijl al snel impressionistisch – tot hij in contact kwam met expressionistische kunst, en dan vooral met die van Der Sturm, in 1918. \r\n\r\nHij schilderde mystieke en apocalyptische landschappen, zoals *Hochgebirgsfriedhof* (Mountain Graveyard) (1912; New York, Guggenheim), en hij schreef expressionistische poëzie voor het tijdschrift Der Sturm. Na een ontmoeting met Hans Arp, Raoul Hausmann, Hannah Höch en Richard Huelsenbeck raakte hij betrokken bij de Dadabeweging, en begon hij collages te maken onder de noemer *Merzbilder*. Op gelijkaardige wijze begon hij poëzie te maken van fragmenten uit conversaties die hij hoorde en zinnen die hij willekeurig plukte uit kranten en tijdschriften.\r\n\r\nHet uitzonderlijkste project van Schwitters tijdens het interbellum was *Merzbau*, een omvanrijke sculpturale constructie die een groot deel van het huis en de studio van de kunstenaar in Hannover in beslag nam. Hij begon eraan in 1923 en liet hem onafgewerkt achter toen hij Duitsland verliet in december 1936 (reconstructie, 1980–83; Hannover, Sprengel Mus).\r\nOp verschillende manieren zou je die obsessieve *Merzbau*, zelfs aan de hand van foto’s, kunnen beschouwen als het alomvattendste, meest directe beeld van Schwitters’ complexe en tegenstrijdige kunst. In één werk kun je tegelijk het kinderlijke en het gecompliceerde zien, het grootse en het pathetische, het abstracte en het figuratieve, het opgewekte en het verontruste."},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"Norway","place":"","category":{"en":"Lives in","nl":"Leeft in","fr":"Vit à"}},{"country":"Germany","place":"","category":{"en":"Lives in","nl":"Leeft in","fr":"Vit à"}}]}