Frequently considered one of the foremost leaders of the collage movement of 20th century Craft, Kurt Schwitters worked in multiple genres, including dada, constructivism and graphic plot. He was very a prolific writer of sound poetry, a sculptor and a typographer. He was born in Hanover, Germany, on Jun 20, 1887. He died on Jan 8, 1948.
Collage
Schwitters used scraps of junk to constitute many of his collages. He was inceptive exhibited at the Sturm Gallery in Berlin in 1918. This early duty was heavily influenced by that of his mentor, Hans Arp. One of his most famous minimalist paintings is the 1921 Essay "Colored Squares." Although this is often considered to be quasi-minimalist (a technique in which Schwitters was well versed), he began to experiment with more detail and more expanded content starting in 1924.
Constructivism
Schwitters began work on his famous structure, "The Merzbau," in 1924. He used techniques such as sharp and contrasting angles to convert eight rooms of his house into a work of art.He especially used leading colours. He liked to twosome Supplementary flaming colours and neutrals. His 1925 illustration "Untitled (Oval Interpretation)" featured an oval with livid, disconsolate and grey sections. Within this oval were two circles, one bittersweet and the other nigrous.
Minimalism
Schwitters was generally regarded as a minimalist. Most of his works contained actual subtle changes or shapes that combined to fashion a succinct concept. One of Schwitters' best-known collages from this time was his "Merz Picture." Closest this instruct, he began referring to all of his collages as lifetime in the style of Merz.
Color
Schwitters is generally viewed as a masterly of colour and balance.He named the completed house "Cathedral of Erotic Misery" after its completion in 1933. Much of it was designed to be shocking and thought-provoking, with its strange peaks and unclear wall borders.
Sound Poetry
One of Schwitters' most famous sound poems is the "Ursonate," published in 1932. He abandoned the use of commonly recognized words in favor of simple syllables and throat sounds. For this reason, sound poetry, like the compositions of Schwitters, was intended entirely as a performance art rather than a literary work. Schwitters was a firm member of the German dadaists, and their sound poetry inclinations likely influenced this period of his artistic career.
