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Lot Essay
Fer de lance du mouvement Dada, Kurt Schwitters entretient au début des années 1920 des relations étroites avec les artistes des différents courants constructivistes et plus particulièrement avec Théo Van Doesburg, le peintre, architecte, théoricien et fondateur du mouvement De Stijl. Le 23 septembre 1922, ils participent à Weimar au Congrès international des constructivistes et dadaistes orchestré par Van Doesburg. Nous y retrouvons entre autres les constructivistes El Lissitzky et Laszlo Moholy-Nagy alors que Schwitters est accompagné de ses amis dadaistes Jean Arp, Tristan Tzara et Nelly van Doesburg chargés de l’« injection du microbe dada à Weimar et au bauhausiens » (cité in Mécano, No. rouge, 1922). Schwitters convaincu par le rapprochement entre ces mouvements participera l’année suivante à une tournée Dada en Hollande toujours sur invitation de Van Doesburg.
Mz.382.nnde, exécuté en cette même année 1922, trois ans après le premier Merzbild, est par sa composition géométrique et colorée un témoignage du rapprochement entre ces grands courants de la modernité.
Leading Dada artist Kurt Schwitters enjoyed in the early 1920s close links with artists of the different constructivist movements. This was particularly so with the painter, architect, theoretician and founder of the De Stijl movement, Théo Van Doesburg. On the 23rd of September 1922 the two took part in the Congress of Constructivists and Dadaists in Weimar orchestrated by Van Doesburg. Present for the constructivists were El Lissitzky and Laszlo Moholy-Nagy amongst others, while Schwitters was accompanied by his Dadaist friends Jean Arp, Tristan Tzara and Nelly Van Doesburg who together were given the task of “injecting Weimar and the Bauhausians with the dadaist microbe”. (quoted in Mécano, No. Red, 1922). Schwitters persuaded by the convergence between these movements, would take part in a Dada tour of Holland the following year, again at Van Doesburg’s invitation.
Mz.382.nnde, made in that same year, 1922, three years after the first Merzbild, is in its geometric and colourful composition testament to the closeness between these two major modernist trends.
Mz.382.nnde, exécuté en cette même année 1922, trois ans après le premier Merzbild, est par sa composition géométrique et colorée un témoignage du rapprochement entre ces grands courants de la modernité.
Leading Dada artist Kurt Schwitters enjoyed in the early 1920s close links with artists of the different constructivist movements. This was particularly so with the painter, architect, theoretician and founder of the De Stijl movement, Théo Van Doesburg. On the 23rd of September 1922 the two took part in the Congress of Constructivists and Dadaists in Weimar orchestrated by Van Doesburg. Present for the constructivists were El Lissitzky and Laszlo Moholy-Nagy amongst others, while Schwitters was accompanied by his Dadaist friends Jean Arp, Tristan Tzara and Nelly Van Doesburg who together were given the task of “injecting Weimar and the Bauhausians with the dadaist microbe”. (quoted in Mécano, No. Red, 1922). Schwitters persuaded by the convergence between these movements, would take part in a Dada tour of Holland the following year, again at Van Doesburg’s invitation.
Mz.382.nnde, made in that same year, 1922, three years after the first Merzbild, is in its geometric and colourful composition testament to the closeness between these two major modernist trends.