Forever Unfinished: Architectural Implications of Fragments, Merz Barn: A Case Study

FOREVER UNFINISHED Architectural Implications of Fragments Merz Barn: A Case Study

Manchester School of Architecture Master of Architecture Dissertation Supervisor Stephen Walker Student Lobna Mohamed Mohamed Ahmed Elagouz 13164512 Academic Year 2017 - 2018

FOREVER UNFINISHED Architectural Implications of Fragments Merz Barn: A Case Study

Dissertation (2018) by Lobna Mohamed Mohamed Ahmed Elagouz Estimated Word Count 12 000 words

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder, the author.

I would like to thank Dr. Stephen Walker for patiently helping, motivating and guiding me throughout the time of researching, writing and producing this dissertation, for sharing his immense knowledge and for his constant reassurance.

I would also like to thank both, Ian Hunter and Celia Larner, for providing me with invaluable resources, for sharing their knowledge and for allowing me the use of their caravan during my overnight stays in Elterwater.

Finally, Dominic Sagar, for speaking ever so passionately about the Merz Barn and Schwitters during a casual conversation we had in early October of last year, which inspired me to research and produce this dissertation.

Preface

But

how

does

one

write

of

a

German born artist, relatively forgotten

disappearance? What of these events,

and underappreciated, who spent the

which leave no trace and those beings

last two years of his life in the Lake

who leave no trace and those beings

District, where he worked on his last

who leave no footprints? There are

piece of artwork: the Merz Barn. It was

terrains which admit nothing and

not the only one of its kind, Schwitters

record nothing. (Norfolk, 2000, p.224)

left behind a trail of bombed, burned, collapsed or unfinished 3-dimentional

‘But

how

does

one

of

structures, a concept he came up with

disappearance?’ One of the works

in the 1920s shortly after inventing

of high modernism which made an

Merz. They were constructions, which

enormous impression on subsequent

Schwitters continued everywhere he

generations

of

set up his home; in Hanover, Norway

Duchamp’s

Large

artists

write

is

Marcel

Glass,

which

and

England,

like

a

distributed

Duchamp himself repaired after it

network, present simultaneously in

broke. A work which no longer exists

several places and connected with the

in its original state and can only

wild ocean that is his legacy.

be appreciated today in a partial reconstruction: Kurt Schwitters Merz

When Schwitters died, the barn was

Barn, in Elterwater Cumbria. (Orchard,

left uncompleted. Unfortunately, in

2004, p.32)

the years that followed, the barn fell victim of weather and time. Almost two

Kurt Schwitters (1887-1948) was a

decades after Schwitters’ death,

in hopes of preserving the barn from

vestiges that survived after Schwitters’

further decay, the barn was taken apart.

death, approaching the idea of Merz;

The main Merz Wall, which Schwitters

‘the idea of continuous recasting, of

had

died,

an artistic process without bounds,

was relocated to the Hatton Gallery

without beginning and without end.’

Newcastle University; and the barn, the

(Núndel, 1981, p.16) While also narrating

shell housing the Merz Wall, was left

the story of an artist, who looked

to deteriorate on site. In 2006, almost

deeply into both the before and the

half a century after Schwitters’ death,

after of the ephemera of our society,

the barn and the Cylinders Estate were

producing

acquired by the Littoral Art Trust, who

packaging as a graphic designer and

have since ran several campaigns in

reasserting the same objects as trash,

favour of its full restoration.

rubbish and the ruined in his collages

completed

before

he

adverts,

branding

and

and assemblages. (Caroll, 2011) For a long time, the barn and the wall, have been perceived as two fragments that were once part of a whole, and never really appreciated for their own entity. This

dissertation

draws

on

several theories on the perception of fragments and whole. It attempts to reimagine the Merz Barn in the manner of bricolage; unravelling the different

This dissertation benefits greatly from: the work of other historians, anthropologist, researchers; archival material, provided by both, Littoral Art Trust and Sprengel Museum Archive; interviews, personal conversations, seminars and workshops and site visits to: Merz Barn, Elterwater; Hatton Gallery, Newcastle and Sprengel Museum, Hanover.

Merz: a syllable taken from a bank’s letterhead; “Kommerz, und Private Bank”, it carries an aural association with “abmerzen” [to reject], and thus is related with the abandoned materials Schwitters resurrected and transformed.

(Rothenburg, 1946)

Contents

Introduction

11

Timeline: Kurt Schwitters’ Biography

18

01_ Kurt Schwitters

21

Early Life “Pre-Merz” 1887-1919 02_ Fragments | Whole

33

The Aesthetic of the Unfinished Timeline: Cylinders Estate 03_ Cylinders Estate

41 45

Schwitters in Britain 1940-1945

56

Pierce | Schwitters, an Encounter 1946

64

The Merz Barn 1947-1948

68

The Merz Barn Post Schwitters’ Death

76

04_ Recomposition of Fragments

93

Schwitters’ Merz, a Form of Bricolage? 1919-1932

100

Bricolage | Abstract[signs]Concrete

113

05_ The Signs

117

Schwitters in Exile 1933-1940

121

Hanover Merzbau: Cathedral of Erotic Misery

125

Lysaker Merzbau: Haus am Bakken

133

Nature in the Work of Kurt Schwitters

137

Merzhytte

141

Conclusion

145

Bibliography

157

List of Images

171

Figure 1: The Merz Barn amidst the Trees planted by Harry Pierce as part of his “Cylinders Estate� landscape project (Source: Author, 2018).

Introduction

Fragments may be construed in both negative and positive ways: as remnants of achievements and a plenitude that is irrevocably lost, or as elements of a restorative power that can provide symbolic and poetic meaning to newly constituted wholes. (Middleton, 1999, p.35, in Bergoll, 2006, p.11)

Fragments are defined in the Merriam

German translates to a building or a

Webster Dictionary as ‘a part broken

structure and Merz is a term, which

off,

In

Schwitters used to define his work

architecture, the term fragment implies

extending to his paintings, sculptures,

the existence of a reciprocal idea, which

writing,

is that of a whole or complete. It refers

typography. Merzbauten were walk in

to remnants of a building or a past that

sculptures, a room size installation of

was once completed, or to a building,

built and found elements, meant to

which for one reason or another was

be viewed as a single artwork. They

abandoned during construction and

were

left unfinished. The fragment has

encompassed the visitor and in his

been a source of inspiration for writers,

lifetime, he created three: Hanover,

artists, photographers and architects

the Cathedral of Erotic Misery, begun

alike.

around 1930 and destroyed by allied

detached,

or

incomplete’.

poetry,

complete

performances

environments

and

that

bombs in 1943; Lysaker, Haus am My first encounter with an unfinished

Bakken, begun in 1937 and destroyed

form, fragment, was during a trip I

by fire in 1951; and Elterwater, Merz

made to the English Lake District, Late

Barn,

October of last year. On this land stood

completed.

begun

in

1947

and

never

the Merz Barn, what is known to be Kurt

12

Schwitters’ final piece of work, and the

Kurt Schwitters (1887-1948) was a

last and the only one to have survived

German born artist, who spent the last

of his Merzbauten. The word bau in

two years of his life in the Lake District,

England, after having to flee both;

original location. (Orchard, 2004, p.39)

Germany in 1937 and Norway in 1940

Ian Hunter and Celia Larner, with whom

from Hitler’s regime, that declared his

I have had several discussions and

art degenerate. Schwitters worked on

interviews in regards with how they

the Merz Barn for the last year of his

wish to restore the site, manage the

life while his health was deteriorating

Littoral Art Trust. They were both very

and it was never completed. It was set

helpful from when I first expressed

in Harry Pierce’s landscape project,

interest in the Merz Barn and have

the Cylinders Estate, in Elterwater,

since provided me with access to

Lake District. After his death, his work

multiple

in the Merz Barn was deteriorating

projects and limited edition books,

due to weather conditions and in 1965

which this dissertation greatly benefits

the Merz Barn wall was moved to

from.

archival

data,

research

Hatton Gallery, Newcastle. In the years following Harry Pierce’s death both the

Neil Levine, an architectural historian,

historical garden and what remains

suggests

of the Merz Barn fell into ruin. In 2006,

architecture is in itself, a paradox. This

the Littoral Art Trust, who has since had

results from the building’s ability to fulfil

several attempts at restoring the Merz

a purpose and be read as complete

Barn, acquired the property. During this

although visibly unfinished. It can

period, an interest in Schwitters and his

therefore be assumed that the concept

work resurrected, which led initiatives

of the unfinished in architecture only

to bring back the Merz Wall to its

relates to architectural intention.

that

the

unfinished

in

13

It could be said that buildings acquire

anthropological

their own sense of ‘whole’, independent

perspectives relevant to uncovering

of intentions, and are shaped by

contradictory attitudes towards the

events taking place overtime, where

perception of fragments, from the

the fragment constitutes a part of

Romantic

the building’s identity.

and age value of the ruin; to the

The concept

and

fascination

with

beauty

of unfinished form does not obstruct

Classical

the understanding of an architectural

understanding of the ruin of in the

whole.

(Levine,

2006,

p.324)

exploration,

philosophical

analysis

and

Kurt

context of its original intended form;

Schwitters’ Merz Barn is used in this

to the Modernist interpretation of its

dissertation as a case study to aid

aesthetic value. I will argue that the

in our understanding of fragments,

unique, impelling ruined fragment, the

function and whole. It represents

Merz Barn, can still be explored and

both, the fragment that resulted from

incorporated into new configurations.

incompletion and the fragment that

By addressing specific issues of the

witnessed the testimony of time and

phenomenology behind presence and

history.

representation, or matter and form I intend to look at the Merz Barn as a

14

My approach to uncovering the role

case study, observe the development

and the symbolism of the fragment

of Kurt Schwitters’ life and art and

in architecture is both theoretical and

how the existing fragments could

empirical. Through this framework I

potentially

draw on a range of theoretical,

explored into new means. This should

be

encompassed

and

line up with the Littoral Arts Trust’s

hand; also: something constructed in

initiative

Barn

this way.’ Lévi-Strauss established a

Project, which seeks to; secure the

connection between the “intellectual”

future of the Merz Barn building

and

and the surrounding landscape site,

of

increase public access, fulfill an art-

intellectual composition of fragments

historical function and play a role in

as “mythical thought.” In his description

contemporary art. (Holden, 2015, p.11)

of mythical thought, he talked about

called

the

Merz

the

“concrete”

Bricolage.

He

understanding

referred

to

the

the relation between the “abstract” An

important

the

and “concrete”, the representation and

understanding of the fascination for the

the represented. He calls the idea, the

unfinished in architecture, appears to

matter that a fragment represents, a

be this desire to reconfigure fragments

concept, and the physical fragment

and render them complete. One main

recalling this concept, a sign. The signs

theory this dissertation draws on is that

are references to the circumstances

of a Bricolage. Bricolage is a theory of

they

a science developed by the French

signs can be arranged in various ways

anthropologist and leading advocate

to create new configurations and is

of structuralism, Claude Lévi-Strauss.

open to different interpretations. (Lévi-

It is defined in the Merriam Webster

Strauss, 1966)

dictionary

as:

notion

‘construction

in

(as

represent.

Additionally,

these

of

a sculpture or a structure of ideas)

Through this framework, a selection of

achieved by using whatever comes to

Kurt Schwitters’ work will be analysed

15

as signs and used as precedent in

represent

the

“whole”,

using

the

suggesting means of reconstructing

Merz Barn, a case study. The most

and the reimagining the Merz Barn.

important aspect of the Merz Barn, or

However as John Elderfield states:

any Merz work, was Schwitters himself, ‘Now, I call myself Merz.’ (Schwitters,

Any attempt to grasp the totality of

1927, in Orchard, 2004, p.49) For this

Schwitters’ art is necessarily affected

reason, this dissertation starts with

by the knowledge of his life, for he was,

a timeline that unfolds the story of

it seems, as complex a person as his

Kurt Schwitters, from his birth in 1887

work, and intrinsically so fascinating

in Hanover, Germany, to his death in

a subject that his art is often treated

poverty, obscurity and ill health in 1948

merely as an adjunct to his personality.

in the Lake District, England.

(Elderfield, 1987 p.7) As Schwitters’ Merzbauten can be Therefore, Schwitters’ story will be told

regarded as “time capsules”, in which

and regarded as a “sign”, in parallel

history, memories and his entire life

with the analysis of his work, and will

could be stored (Orchard, 2004, p.49),

be spread across relevant sections in

chapter 01 considers Schwitters’ early

this dissertation.

life, education and influences that led him to invent his one-man movement,

16

This dissertation explores the role and

Merz.

symbolism of the fragments and how

Chapter 02 defines the term “fragment”

they can, in their unfinished state,

and the ways in which it applies in this

dissertation, it touches on several

fragments

theoretical approaches to fragments,

manner in which he elevated “trash”,

their

fascination

turning them into new compositions,

associated with them. The whole,

is compared to the act of bricolage,

and how it can be achieved through

which is further analysed in the same

the reconfiguration of parts is also

chapter.

discussed in this chapter.

Chapter

Chapter 03 deals with the site, where

the

the Merz Barn is located, Schwitters’

reimagination of the Merz Barn. In this

life in exile in Britain, and the story of

chapter, a selection of Schwitters’ work,

how he made his way to the Cylinders

in more depth and through a series of

Estate, where he spent the last two

images, are analysed and regarded

years of his life, working on what is, the

as “signs”, as defined in the preceding

central case study of this dissertation. A

chapter. This chapter recounts the

timeline outlining the history of the site,

development

as well as relevant events taking place

during the period he spent in exile in

in Schwitters’ life during the same

both, Germany and Norway, 1933-1940.

period, precedes this chapter.

As well as his relationship with Hans

Chapter 04 narrates the most important

Arp and how it influenced his later

years of Schwitters’ life, 1919-1932,

work, particularily the Merz Barn.

origins,

and

the

in

05,

concept

his

own work. The

attempts of

of

to

bricolage

apply in

Schwitters’

the

style

during which he invented his one-man movement, Merz. It particularly draws on the way Schwitters incorporated

17

Timeline The Life of Kurt Schwitters1 1887-1948

1 This timeline gives a brief overview of Kurt Schwitters’ Life and career. A key source for this timeline is Isabel Schulz and Karen Orchard’s Kurt Schwitters: Catalogue Raisonné. Other sources consulted in the making of this timeline in order of relative importance: Littoral Art Trust Archival material, Webster, 1997, Crossley, 2005, Elderfield, 1987 and Burkett, 2000. Some of the events were mentioned under different dates in those various resources. I, as the author of this timeline made decisions as to which dates to follow for particular events, which, to an extent, should not affect the overall accuracy of the timeline.

In later chapters, a selection of influencial years in Schwitters’ life will be discussed in greater detail. For a more comprehensive biography of his entire life, please check the list of references placed at the end of this dissertation.

The images listed in the timeline are all works of art done by Kurt Schwitters.

Figure 29: Merz Barn Wall, in Hatton Gallery University of Newcastle 1947-8 (Source: Author, 2018)

1947 March 5: Schwitters stages two Merz evenings at the London Gallery.

He is unable to persuade the BBC to record his Ursonate. April: his work is included in The White Plain at the Pinacotheca, New York. June: he is awarded $1000

by the Museum of Modern Art, New York, provided by Kaufmann, for the reconstruction or continuiation of existing Merz constructions, in Hanover or Lysaker. Unable to travel outside of England, he starts his last Merz

constrcution, The Merz Barn, on Harry Pierce’s Farm near Elterwater in the Lake District. It is never completed.

1948 January 8, a day after being granted British Citizenship, Schwitters dies in

England of acute pulmonary edema and myocarditis.

First Solo show, organised by Dreier at the Pinacotheca in New York: Kurt Schwitters: The Dadas Have Come To Town. In 1970 his remains are moved to Hanover.

19

1885

1900

1910

Figure 2: Selbstbildnis mit Kamelienzweig (SelfPortrait with Camelia), 1906—07 (Source: Elderfield, 1987)

Figure 3: Das Leinewehr 1911 (Source: Terri Maxfield Lipp, 2016: Online)

1887

1901

1911

Kurt Schwitters born on June 20 in Hanover, Gemany.

His parents, Eduard and Henriette own a clothing store.

In the first few years of Schwitters’ life, they move several times within Hanover.

They settle permenantly at 5 Waldhausstrasse.

He attends the Berliner Akademie der Künste, where he is deemed untalented and expelled just after a 4 week probation period.

1908-09 Schwitters begins to study art and write poetry.

He attends the Kunstgewerbeschule in Hanover.

1909-14 He is at Königlich Sächsische

1915

Akademie in Dresden, where he paints in a conservative | academic manner.

Figure 4: Helma Schwitters mit Blume 1917 (Source: Terri Maxfield Lipp, 2016: Online)

1915

1917

Schwitters and Helma, his cousin, wed on October 5.

They move to a flat , where he also sets up a studio.

He exhibits for the first time at the Kestner Gesellschaft, Hanover. Schwitters’ grows interest in expressionism and abstract art, and his work becomes increasingly more abstract.

Soldier in ReichsInfanterieregiment 73, declared unfit

1913 1916 His work is shown at the Hanover Kunstverein for the first time. Exhibits annually until 1934

His first son, Gern, born September 9, and dies only eight days later,

Figure 5: Das Merzbild 1918/19 (Source: Terri Maxfield Lipp, 2016: Online)

High School, Hanover.

Produces a series of paintings entitled Abstraktion. He meets Kate Steinitz, with whom he collaborates on several projects and becomes a life long friend. He joins 1918 the Hannoversche Enrols in Architecture Secession and at the Royal Technical participates in their for service due to his epilepsy.

Meets Christof Spengemann, a critic, journalist and publisher, with whom he becomes a lasting friend.

first exhibition at the Kestner Gesellschaft.

In June, his work is included in the Galerie Der Sturm in Berlin, exhibits there regularly until 1928.

In Berlin, he meets Hans Arp, Raoul Hausmann and Hannah Höch, all of whom become his lifelong friends. His

1920

Figure 6: Das Kreisen (Revolving), 1919 (Source: MoMA, n.d.: Online)

Figure 7: An Anna Blume 1919 (Source: Terri Maxfield Lipp, 2016: Online)

Figure 8: Merzbild 169. Formen in Raum (Forms in Space), 1920 (Source: Elderfield, 1987, p.XI)

Figure 9: Merzbild 32A. Das Kirschbild (The Cherry Picture), 1921 (Source: Elderfield, 1987: p.VIII)

Figure 10: Merz Konstruktion 1921 (Source: Archive Dada, 2013: Online)

1920 son, Ernst, is born on November 16.

He invents the term Merz to describe his art.

1919 Joins the artists’ association IVEKF. In May meets Dada writer, Richard Huelsenbeck,

expresses interest to Tristan Tzara in the latter Dada1 publications. He gets rejected by the group, despite his engagement with prominent Dadaists.

First public showing of Merzbilder in the 76th exhibition of the Sturm gallery in Berlin. In July, he

publishes, an essay explaining the concept of Merz and a Dadaist love poem, An Anna Blume. In October, he publishes Merzbühne and at the end of the year Paul Steegemann publishes Anna Blume. Dichtungen.

The poem is later

translated in several languages.

1

Dada was an artistic and literary movement that began in Zürich, Switzerland. It arose as a reaction to World War I and the nationalism that many thought had led to the war.

Regularly travels to Berlin where he meets George Grosz and recites poetry at the Galerie Der Sturm for the first time on May 5. He also meets Michel Seuphor and Max Ernst in Cologne.

Meets collector, Katherine S. Dreier,

who later develops close friendships with the Shwitters.

Dreier was vital in introducing Schwitters’ work to the U.S. and also provides them with financial support in the 1920s and 1930s.

First inclusion in a show by the Société Anonyme, New York.

included in exhibitions in Darmstadt, Dresden and Rome. Several publications feature his Merz work.

1921 Schwitters’ essay Merz and several of his Merz work published in Der

Ararat no. 1 edited

by Hans Goltz.

Lajos Kassak publishes some of Schwitters work in his periodical MA Heute vol. 6, no. 3.

First solo show at the Sturm gallery in Berlin. He travels to various cities for poetry recitals. First publication of

poems and texts in the periodical De Stijl, edited

by Theo van Doesburg, whom he meets later that summer. Inspired by Hausmann’s sound poem FMSBW, he begins working on his Ursonate, which he considers to be a defining life’s work.

1925

Figure 11: Blauer Vogel (Blue Bird) 1922 (Source: Elderfield, 1987: p.XVI)

1922 Schwitters produces his first sound poems and continues to publish poems, manifestos and articles. Images of his work appear in two important books on modern art: Die Kunst der Gegenwart: Die sechs Bücher der Kunst, and Buch Neuer Künstler,

Figure 12: Merzbild 231. Miss Blanche, 1923 (Source: Elderfield, 1987: p.XII)

Figure 13: Merz 11 (Journal): Typoreklame 1924 (Source: MoMA, n.d.: Online)

1923 Solo show in the Roemer-Museum, Hildesheim, where he delivers a lecture on Developments in Modern Painting.

Participates in exhibitions in Rotterdam and Utrecht. He develops an interest in graphic design and typography.

Publishes the first issue of his journal, Merz, which are produced at irregular intervals and in a variety of formats. In January, he begins a 4 months trip of the Netherlands Dada tornee. He meets Piet Zwart, who greatly influences Schwitters’ interest

Figure 14: Merzbild 1. Relief mit Kreuz und Kugel (Relief with Cross and Sphere), 1924 (Source: Elderfield, 1987: p.XVII)

1924 in modern typography. His work is shown alongside Oskar Schlemmer’s at the Galerie Emil Richter, Dresden.

He presumably begins work on two Merzsaulen, both destroyed, but later become foundations of his Hanover Merzbau.

He establishes an advertising office, Merz-Werbezentrale, through which he commissions an increased volume of typography work in the following years.

His work is included in Contimporanul Prima expozitie internationala in Bucharest. In April

he collaborates with Lissitzky on Merz 8/9 Nasci.

In September, his designs for a Merz theatre, Normalbuhne Merz, are included in Internationale Ausstellung neuer Theatertechnik in Vienna, which travels to Paris and New York. With Steinitz,

establishes a publishing house, Apossverlag, they produce the fairy tales: Hahnepeter, Die Marchen vom Paradies and Die Schueche. They also find the series, Neue Architektur and publish its first and last volume, Grosstadtbauten.

Figure 15: Bild 12. Kleines Seemannsheim (Small Sailors’ Home), 1926 (Source: Elderfield, 1987: p.XIX)

1925

1926

Merz 13 MerzGrammophonplatte released, with private recording of the scherzo from the Ursonate.

First performance of Ursonate at Frau Kiepenheuer’s house in Postdam. He continues to publish, perform and exhibit mainly in Germany.

With the help of Dreier, he prepares for the International Exhibition of Modern Art, across galleries in North America. He works on manuscript of Merzbuch 1 Die Kunst der Gegenwart ist die Zukunft der Kunst. Takes part in official opening of the Bauhaus in Dessau.

1930

Figure 16: Schwarze Punkte und Viereck 1927 (Source: Kurt und Ernst Schwitters Stiftung, n.d.: Online)

Figure 17: Der Zinnobersclager 1928 (Source: MoMA, n.d.: Online)

1927 Solo show in Bohemian Kunstverein, Prague.

He organises Grosse Merz-Austellung 1927, a retrospective exhibition of his work, which travels to several cities. Cofounds the group die Abstrakten Hanover, numerous joint exhibitions. His play

Schattenspiel is performed in Prague.

He establishes an association of commercial artists, Ring Neue Werbegestalter.

Collaborates with Steinitz on a libretto for Der Zusammenstoß, for which they win second prize.

Figure 18: Oorlog 1930 (Source: Elderfield, 1987, p.XXII)

1928

1929

1930

Five-week excursion to; Rome, Naples and Sicily, as a guest student of the Technical High School, Hanover. He contributes to an essay, Gestaltende Typographie.

With Steinitz, commissioned to design a brochure for Fest der Technik.

Joins artists’ association Cercle et Carré, France.

He designs all the exhibition publications for the Dammerstock housing project, Karlsruhe, led by Walter Gropius. His work presented in various exhibitions across Germany.

Schwitters begins working on his first Merzbau, a room size installation of built and found elements, meant to be seen as a single artwork. He continues to work on it until he leaves Hanover in 1937. The brochure, Die neue Gestaltung in der

Figure 19: Neues Merzbild {New Merz picture), 1931 (Source: Elderfield, 1987, p.XXI)

1931 Typographie, published. He joins the PEN Club, an English literary society founded in London in 1921. He Co-founds Ring Hannoverscher Schriftsteller with Christof Spengemann and Carl Credé.

Included in the

1ère exposition internationale du groupe Cercle et Carré in Paris. In presumably his last public performance in Germany, he reads, among other works, An Anna Blume and Schacko at Künstler in Front in the CapitolHochhaus, Hanover.

Schwitters is elected an Honorary President of the Société Anonyme.

Represented at the Stedelijk Museum, Amsterdam. He joins the artists’ association Abstraction-Création, Paris. Photographs of the Merzbau

and other works reproduced in the group’s Journal 1932 and 1934.

1932 The Hanover Kunstverein includes Schwitters in their 100th anniversary exhibition. His Ursonate is published

1935

Figure 20: Ursonate 1932 (Source: Kurt und Ernst Schwitters Stiftung, n.d.: Online)

Figure 21: Hannover Merzbau: Die Goldgrotte Figure 22: Pino Antoni 1933-34 (The Gold Grotto) photographed 1932 (Source: Elderfield, 1987, p.XXIII) (Source: Elderfield, 1987)

1933 as Merz 22 with typography by Jan Tschichold. He records the poems; Scherzo and An Anna Blume for the broadcaster, Suddeutsche Rundfunk AG, Stuttgart. With Helma, he visits several countries on a 7 week cruise.

Adolf Hitler becomes dictator of Germany. Political situation becomes increasingly difficult, Schwitters withdraws from the public and focuses on the Merzbau.

Reproductions of his work included in the exhibition Novembergeist Kun

im Dienste der Zersetzung. organised by the National Socialists with the intent to ridicule modern art.

1934 Schwitters travels to Berlin for the opening of Aeropittura, an

exhibition, where he meets Filippo Tommaso Marinetti.

In the summer, he begins Merzhytte a primitive hut on the island of Hjertoya in Moldefjord, Norway. The last presentation of his work in National Socialist Germany, in the autumn show

of Hanover artists at the Hanover Kunstverein. apart from inclusion in defamatory exhibitions of degenerate art. His work displayed in the Museum of Modern Art, New York, for the first time.

Figure 23: Relief in Relief 1935 (Source: Tate Galleries, 2016.: Online)

Figure 24: Pariser FrĂźhlingr 1936 (Source: Nice Collection, 2014: Online)

1935

1936

1937

Alfred Barr places Schwitters’ work in the exhibition Cubism and Abstract Art at the Museum of Modern Art, New York.

Photographs of the Hannover Merzbau are also included in the exhibition Fantastic Art, Dada, Surrealism.

Schwitters and his son, Ernst, flee to Norway, where he begins his second Merzbau, the House am Bakken in Lysaker, destroyed in 1951. Some of his work included in the Konstruktivisten exhibition at the Kunsthalle in Basel, January-February.

Presentation of The Merzpicture and Ring Picture, confiscated in as well as his poem An Anna Blume and the quotation Everything an artist spits out is art in the first Degenerate Art touring exhibition organized by the National

Socialists (began 23 September 1933 in Dresden and ended in September 1936 in Frankfurt-onMain.) Represented in the exhibition Tentoonstelling van modern schilderwerk, grafiek, reclame en fotografie in De Nieuwe Kunstschool, Amsterdam.

1940

Figure 25: Merzbilde med regnbue (Merzpicture with Rainbow) 1939 (Source: Elderfield, 1987, p.XXV)

Figure 26: Untitled Roofs of houses in Douglas Camp 1941 (Source: Terri Maxfield Lipp, 2016: Online)

1938

1939

1940-41

Sells five collages to Peggy Guggenheim, which she includes in Exhibition of Collages, Papiercolles, and photo montages. In July, his work is included in Exhibition of twentieth-Century German Art at New Burlington Galleries, London.

His poems and a drawing published in the periodical Plastique (no. 4), edited in Paris by Sophie Taeuber-Arp His work included in Art of Tomorrow,at the museum of Non -Objective Painting, New York. He sees Helma, his wife, for the last time in Oslo.

With the help of Steinitz, Schwitters unsuccesfully attempts to procure an American visa.

German troops invade Norway in April 1940, Schwitters; his son, Ernst; and Ernst’s wife, Esther, flee to Great Britain. They remain in various

detention camps in Scotland and England until the end of 1941. He writes a poem titled Flucht about his experience.

In Hutchinson camp, he sets up a studio where he makes collages, sculptures and portraits of other

detainees. He also stages recitals, including his first English poem Silence.In December 1941 he is released and moves to London, where he meets Edith Thomas, who later becomes his companion.

Figure 27: Heavy Relief 1945 (Source: Elderfield, 1987, p.XXVIII)

1942

1943-45

Schwitters renounces the German language and continues to write poetry in English. His work is represented in the International Association,London AIA 1942 Members’ Exhibition, and in various exhibitions across the U.S.

8 /9 October 1943 Schwitters’ family home and Merzbau in Hannover, are destroyed by Allied bombs. In April 1944 he suffers a stroke and is temporarily paralised. October 29 Helma, his wife, dies of cancer in Hanover. Solo exhibition in the

Figure 28: Untitled, From the Elterwater Merzbarn 1947 (Source: Elderfield, 1987)

1946 Modern Art Gallery, London; text written

by Herbert Read.

His work presented at Kunstmuseum Bern, February 1945 Post war, Ernst moves to Norway, and Schwitters moves to Ambelside, Lake District with Edith, his companion.

13 poems published in Carola GiedionWelcker’s Anthologie der Abseitigen Poètes à l’Écart, Benteli, Bern. Works on the periodical PIN planned with Raoul Hausmann.

He spends the end of 1946 confined to bed due to a hip fracture.

Chapter One

My Art and My life When I was born, 20.6.87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso’s influence and said to my mother: ‘Tom’ or ‘Happening’ meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influenced by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian’s influence and built little houses with little bricks.

Afterwards I stood under the influence pf the Surrealists, because when they painted natural things with their phantasy, I refused to tear out the wings of the flies for throwing them in the air. I never stood under the influence of the Dadaism because whereas the Dadaist created Spiegeldadaismus on the Zurich Lake, I created MERZ on the Lineriver under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealist. I became and admirer of Chirico, when Chirico went to the Classics, and at all I have much fun about Art. Life and history of Art is as simple as the human spirit, for example Philosophy. I think I shall create now the Phylism, or the Ptolism, because Sophism does already exist. I have to combine it, and call it Philphorism.

The Philphorism goes out from the Anatomy of the Spirit, without being Spiritism.

One needs a medium. The best is, one is his own medium. But don’t be serious because seriouseness belongs to a passed time. This medium, called you yourself will tell you to take absolutely the wrong material. That is very good, because only the wrong material used in the wrong way, will give the right picture, when you look at it from the right angle. Or the wrong angle.

That leads us to the new ism: Anglism. The first art starting from England, except the former shapes of art. That is my confession I have to make MERZ Schwitters, 1940-1946 in Schwitters and Fuchs, 2000, pp.100-101

Kurt Schwitters Early Life: “Pre-Merz” 1887-1918

Figure 30: Kurt Schwitters’ self portrait 1947

(Source: Art Stack, n.d.: Online)

I know that I am an important factor in the development of art and shall forever remain so. I say this with great emphasis, so that one can not say, at a later date: 'The poor fellow had no inkling of how important he was'. No I am no fool, nor am I timid. I know full well that the time will come for me and all other important personalities of the abstract movement, when we will influence an entire generation. However, I fear that I shall not experience this. (Schwitters, 1931 in Giedion-Welcker, 1972)

Kurt

Schwitters,

was

born

creator

on June

Rumanstrasse,

in

20,

Hanover,

of

Merz,

1887

on

a very

respectable, wealthy small city in the Lower Saxony region of Germany.

He was an only child and at the time of his birth, his father, Eduard, was employed as a shop window dresser.

Later, Eduard and his wife, Henriette, acquired a prosperous clothing store.

In the first fourteen years of Schwitters’ life, the family moved several times within the city of Hanover, until, in 1901, when they settled permanently at 5 Waldhaussstrasse.

Schwitters developed a passion for construction at an early stage of his life and in 1901, he constructed a garden within the family country cottage grounds. He made a pond and planted out roses and other flowers on small earth hill that he created. In the same

Figure 31: Photograph of Schwitters’ house at Waldhausenstrasse 5, Hannover 1926 (Source: Elderfield, 1987)

year he experienced the onset of

(Fig. 3, 26, 30) At that time, the Dresden

epilepsy. Due to his prolonged fits,

school did not engage with the avant-

which are thought to have lasted

garde and the paintings he produced

five hours, epileptic fits lasting more

then were very conventional and

than five hours would usually incur

conservative (Fig. 3) and is not remotely

brain damage, his academic work

related to the way in which it was to

deteriorated. In 1908, he gladly left

develop in later years (Fig. 5 - 28).

school and went on to start his journey

Schwitters’ professors and the Dresden

with art. During 1908-14 period of his

Academy shunned modernism, but

life, Schwitters began to study art

he was aware of the new movements

and write poetry. He attended several

towards abstract art. In attempt to

institutions: the Hanover School of

gain exposure, he applied to the Berlin

Applied Art in 1908-09; the Berlin

School of Art, where he was accepted

School of Art in 1911, and the Royal

for

Academy of Fine Arts in Dresden 1909-

expelled for lacking talent. In the same

14. In Dresden, he was taught by Carl

year, 1911, his work was rejected by the

Bantzner, a follower of the Dutch

local art society’s annual exhibition in

painter Franz Hals. Hals’ style was to

Hanover.

a

four-week

trial period

and

have great influence on Schwitters’ own painterly naturalist portraits and

In 1914, upon completion of his course,

landscapes which he continued to

he returned to his parents in Hanover.

paint throughout his life, even during

The assassination of Archduke Franz

his most experimental, Merz, phases.

Ferdinand of Austria on June 28 of the

27

same year brought about the First World War and Germany declared war on Russia and France. Schwitters could not be enlisted in the army due to his epilepsy, but he performed clerical duties in the army and in 1917-18 he served as mechanical draughtsman at the Wulfel ironworks just outside Hanover, which he detested. This period is believed to have influenced his later work (Fig. 6, 15) ‘In the war I discovered my love for the wheel and recognized that machines are abstractions

of

the

human

spirit.’

(Schwitters, n.d., in Dietrich, 1993, p.86) In 1915, he unsuccessfully tried to establish himself as a painter, and later in the same year he married his cousin, Helma Fischer (Fig. 4). They lived in a small apartment at the top of Schwitters’ parents’ house in Waldhausenstrasse and used to

Figure 32: Kleine DADA soirée 1923

(Source: Schwitters, K. and Doesburg, T., 1923 in Art Gallery NSW, 1999: Online)

receive financial aid from Helma’s

who were all looking for a break from

parents. This is also where Schwitters

the past, including the multi-national

set up his studio and where he worked

Dada movement. It was the Dadaists

on his first Merzbau, the Cathedral of

in Germany and Switzerland that first

Erotic Misery, (Fig. 21) he continued

appealed to Schwitters, and whom

to live and work there until he had

had the most resonant influence on his

to flee Hanover in 1937.

This, and a

work. It is believed that Dada was first

selection of his Merz work, along with

established in Zurich circa 1916 by a

relevant periods of his life, particularly

group including Hans Arp: a painter and

his mature period after his invention

Tristan Tzara: a poet. The movement

of

Merz, will be explored further in

started as a statement in opposition

Chapter 05, The Signs. Unfortunately, a

of war and slaughter in the battles of

year after he got married, his first son,

Somme and Verdun. Dada artists were

Gerd, died at only eight days of age.

anti-society and anti-art, they rejected

Nonetheless, 1918 witnessed the birth

all kinds of art and disapproved of

of his second son Ernst as well as his

Cubism, Expressionism, Futurism and

life defining work, Merz

even Abstract art. It was deliberately international with Marcel Duchamp:

Germany was defeated in the war, and

New York, Francis Picabia: Paris, Raoul

with that the economy and political

Hausmann and George Grosz: Berlin

stability collapsed, along with old

and Max Ernst: Cologne, most of whom

notions and idealisms. This gave rise to

Schwitters formed close friendships

several art movements all over Europe,

with.

29

During his visits to Berlin in 1918, Schwitters met the ex-Zurich Dadaist, Hans Arp and other Berlin Dadaists.

The contacts made by Schwitters at this time were of crucial importance to the way his art would develop in later year. Nature in the Work of Kurt Schwitters in Chapter 05 will explore relevant aspects of the relationship between Hans Arp and Schwitters and how it influenced Schwitters’ later work, particularly the Merz Barn.

Chapter 03 reveals the history of the site, where the Merz Barn is located, as well as: Schwitters’ life in exile; his relationship with the site’s landscape designer,

Harry

Pierce;

Schwitters’

death; the relocation of the Merz Wall and how the Merz Barn and the historical garden fell in ruin shortly after. However, before introducing the Merz Barn as a “fragment”, the term “fragment” and how it will be used Figure 33: Merz Arp, Diagramm for Plastique 4 1938 (Source: Schwitters, K., 1923 in Kultur-Online 2018: Online)

throughout this dissertation will be

fragments and whatever that was at

defined in the next chapter. Several key

his disposal. Schwitters’ works and

theories on fragments and whole will

ideas crossed a variety of disciplines

be presented in the same chapter and

as he was a poet, painter, sculptor,

will be explored in more detail towards

graphic designer, typographer and

the end of this dissertation.

a self-publicist. He shared many of the same interests with the Cubists,

Although Schwitters was not a political

Dadaists,

artist, at least not consciously, in 1919

Surrealists.

shortly after meeting with Dada writer,

from the Dadaists and his conscious

Richard Huelsenbeck, he expressed his

separation from the other movements

interest in the later Dada publications

led

to

his

his own one-man movement, Merz.

engagement with prominent Dadaists,

Schwitters’ Merz, a Form of Bricolage?

he was rejected by the group. Dadaist

In Chapter 04, will explore Schwitters’

art could be described as chaotic,

Merz, 1919-32 in more detail; how it

after its emergence the rules set out to

came about, how it expanded to all

artists were in anarchy and no longer

his work including himself and how his

had to be followed: anything and

“Merz” work can be compared to that

everything could be regarded as art. To

of a bricoleur, as defined earlier in the

Schwitters that meant that art could be

introduction.

Tristan

Tzara

and

despite

him

Constructivists However,

to

his

and

the

rejection

simultaneously create

created from anything; so, he made art out of litter, used tram tickets,

31

Chapter Two

Fragments | Whole The Aesthetic of the Unfinished

Because the Merz Barn provides the

went through,

central case study in this dissertation,

the next chapter. The Merz Barn wall

the definition of the term “fragment”

itself, regarded as a fragment, will be

needs to be introduced carefully.

analysed as a sign towards the end of

Here,

this dissertation in chapter 05.

it

refers

confused

to:

materials

the of

ruin

‘the

will be unravelled in

substantial

buildings that have been degraded

The origins of the way fragments are

by the time’ (Diderot and D’alembert,

perceived today could be traced back

1765, in Armstrong, 2006 p. 184);

to the late 18th century. However, there

the

significant

are differences between the meaning

that

are

of fragment in the modern era and its

fragments at the time of their origins’

earlier connotations. Before the 18th

(Schlegel, 1968, in Levine, 2006 p. 323).

century fragments were experienced

Schwitters showed interest in the

as part of a whole and in the first half of

idea of the unfinished and his career

the 18th century they were associated

as mature artist, examined in both

only with the negative consequences

chapter 04 and 05, usually thought

of destruction. Today, fragments are

to begin in the late 1920’s, provides

thought of as independent, relatively

great reference to this. At the time of

autonomous elements that can be

Schwitters’ death in 1948, the Merz

combined at will. (Vesley, 2006).

conceptually

incomplete

and

more ‘works

Barn was left unfinished, the story of how the Merz Barn came about, and

In due course, fragments, objects

the different stages of “unfinished” it

taken out of their context, became

35

more powerful than their finished counterpart

in

initiating

symbolic

meaning and reference. According to

It may be that the fragment is often

Schlegel, the incomplete appearance

more intriguing than the “completed”

of the fragment excited architects’

form as it leaves the task of completion

imaginations

to the imagination of the observer.

studies,

as

and they

archaeological represent

what

The reading of architecture becomes

once existed and are vestiges of the

ambiguous in this case, as it requires

past eroded by the force of nature.

reflection to be understood. There is

Diderot also recognised this when

a constant desire to complete what

he wrote ‘one must ruin a palace in

is the incomplete, to reanimate that

order to make it interesting.’ (Junod,

which is lifeless. The architecture

1984, in Vesley, 2006, p.44). This is

is continuously developed by the

further developed in Hume’s field of

complexity

enquiry, within which deformity and

tension between the complete and

fragmentation can be appreciated in

incomplete.

terms of beauty and wholeness.

that

arises

from

the

He

regarded the way fragments were

In the validly complex building or

presented to the mind by elements of

cityscape, the eye does not want to be

the past, and the difficulty of reading

too easily or too quickly satisfied in its

their temporal position relative to the

search for unity within a whole. (Venturi,

self, as attributes heightening the

1966, p.104)

sense of fascination of fragments.

36

(Hume, pp. 205-14.)

Rechtin defined the whole, or system,

1977, pp.211) ‘The process of formation

as

depends

‘a

collection

of

components

on

the

possibilities

of

organised to accomplish a specific

representation in which a part can be

function or set of functions’ (Rechtin,

a believable equivalent of the whole,

1990, p.12) A year later, Rechtin added

or at least a promise of the whole.’

the following to his definition: ‘The

(Vesley, 2006, p.43)

whole is greater than the sum of the parts, that is, the system has properties

In Complexity and Contradiction in

beyond those parts.’ (Rechtin, 1991,

Architecture,

pp.28) Herbert A. Simon defined the

about

complex

constitutes an intriguing, intellectually

system,

or

the

“difficult

his

Robert

Venturi

understanding form

of

what

whole”, as ‘a large number of parts that

challenging

interact in a non-simple way.’ (Simon,

An aspect that he describes is that

1962, in Venturi, 1977, p.211) Gestalt

of ambiguity that complexity and

psychology aligns with Rechtin’s and

contradiction

Simon’s definition and emphasize that

the juxtaposition of what an image

not only does the system perform a

is and what it seems. (Venturi, 1966,

unique function, but also has unique

p.20) In architecture, ambiguity can be

characteristics or qualities that are

expressed in the finished or unfinished;

inherent in the system and not just

what the building is and what it can

the parts. The whole is dependent

potentially be. Even more so in the

on position, number, and inherent

unresolved or fragmented form that

characteristics of the parts. (Venturi,

can simultaneously be perceived as a

can

of

writes

architecture.

appear

through

37

whole.

According

unfinished,

to

the

Venturi,

the

for any reason were left unfinished, can

collocations

of

form their own entity, and be perceived

elements without them being entirely

as a whole.

harmonious, expresses an intriguing

architecture can be said to be more

kind

The

ambiguous than in art and sculpture.

complexity presented in the ambiguity

Arguably, the unfinished form only

of the unfinished form triggers the

relates to a subjective perception

intellect in the reading of its form more

of order, hierarchy or aesthetic. It is

than its resolved equivalent, rendering

associated

the architecture more compelling.

approach to how architecture should

of

vitality

and

validity.

The unfinished form in

with

society’s

idealistic

be composed. When left unfinished, it However, the obligation towards the

still holds memories of the intention in

whole in an architecture of complexity

mind, and is perceived as incomplete.

and contradiction does not preclude

However, when put into service, it

the

unresolved.

can be recognised as a whole as it

Poets and playwrights acknowledge

continues to serve a function despite

dilemmas without

[…] A

its incomplete form. The recognition

building can also be more or less

of its “whole” develops over time with

incomplete in the expression of its

the unfinished character still visible,

program and its form. (Venturi, 1966,

resulting in an ambiguous expression

p.102)

between unfinished and whole. This

building which

is

solutions.

is probably what makes Diderot’s This suggests that compositions that

38

statement applicable today, the notion

that pre-existing references resonate

Preceding the discussion on bricolage

even within the smallest of fragments

and the recomposition of fragments,

or elements. (Vesley, 2006)

the next chapter contextualises the Merz Barn, both: historically, in terms

‘There is something about the Merz

of the site, Cylinders Estate, and

Barn or Schwitters that continues to

personally, in terms of Schwitters’

fascinate artists, architects and art

life in exile in Britain. It also outlines

enthusiast.’ (Hunter, 2017) During my

the different stages of “Fragment”

first encounter with the Merz Barn,

witnessed by the Merz Barn and the

this was a concept I could not grasp,

historical garden it is situated in.

personally. Therefore, I felt that it was imperative to contextualise the Merz Barn within the notion of fragments; unfinished or in ruin. This chapter outlined various thoughts and theories on the fragment and the fascination associated with it; and whole and how those said fragments can be recomposed to resemble the whole.

This, along with Robert Ginsberg’s interpretation of fragments, will be explored in greater detail in chapter 04, Recomposition of Fragments.

39

Timeline Merzbauten and the History of Cylinders Estate

Cylinders Wood

The Barn rebuilt

Harry Pierce acquired the land

It was given a temporary roof, and later used as a hay store.

1944

1943

1931

Cylinder Woods destroyed

All buildings, along with the Barn Schwitters later used, were burnt to the ground to rid the land of any traces of gunpowder.

1926

1882

1824

Gunpowder production in Elterwater stopped

And the shed housing the Cylinders was dismantled

Charcoal production in Cylinders stopped

Owned by the Elterwater Gunpowder Works, until the end of World War II. It is where charcoal, a main ingredient in gunpowder, was produced until 1926

1943

1937

1934

1930

1918

1887

both his family home and his first Merzbau are destroyed by allied bombs.

Merzbau Hanover - destroyed

Schwitters begins his second Merzbau, in Lysaker, Norway

The House am Bakken

Schwitters rents a section of a small stone hut in Norway, which he uses as his summer studio and accomodation. The interior he creates is very similar to that of the Hanover Merzbau.

The Hut on the Island of Hjertoya

Schwitters starts his first Merzbau, he continues to work on it until he leaves Hanover in 1937

Merzbau Hanover

Schwitters invents the term Merz to describe his art.

Merz

Born on June 20, in Rumannstrasse, Hanover, Germany

Kurt Schwitters

1948

1948

2011 2018

Cylinders Estate up for sale

2006

1965

1955

1947

1947

2015

1970

1951

1946

1946

Art Council stopped funding the project

Funds raised to allow for the purchase and conservation of the Elterwater Merzbarn.

The Littoral Trust

Due to dampness and weathering, the Wall is moved to Hatton Gallery, Newcastle, where it is still on display.

The Merz Barn Wall

With the help of Cook, Pierce continues to work on the woodland, which he is able to open to the public.

Schwitters’ work was hung in the Merzbarn , with the aim of selling it, however people showed little or no interest in buying Schwitters work.

The Merzbarn - a show and sell gallery

Elterwater Merzbarn remains unfinished

Schwitters agrees on a lease with Pierce and begins work on the Merz Barn installation. His deteriorating health limited his ability to work for long hours.

The Final Merzbau

With the help of Jack Cook, Harry Pierce transformed the site. He starts to sell soft fruit and jams to Caravane Camp

Cylinder Woods - the Garden of Eden

1945

The hut survived on site for over 60 years in extreme weather conditions. Where fragments of Schwitters’ work still remained. It was disassembled and removed to the Romsdaal Volksmuseet

Merzhytte

He is now buried in Engesohde cemetery, and his grave marked with a marble copy of his 1929 sculpture Die Herbstzeitlose

Schwitters’ remains moved to Hanover

The House am Bakken destroyed by fire

Dies on January 8 in Kendal. Buried in Ambelside.

Kurt Schwitters

In June, Schwitters is awarded a $1000 scholarship to restore or build a new Merzbau.

MoMA

Harry Pierce’s comissioned Schwitters for a portrait

Schwitters moves to Ambelside

Chapter Three

Cylinders Estate

Neolithic Period

Figure 34: Neolithic rock art drawing, Copt Howe, Langdale Valley (Source: Sharpe, 2017: Online) Throughout the history of its human occupation the Langdale valley and its landscapes have provided an important cultural, environmental and economic resource. Over 5000 years ago it was the site of an important ancient stone axe manufacturing and distribution site during the Neolithic period. (Hunter, 2015, p.24)

Roman Occupation

Figure 35: The Roman Fort near Hardknott pass, Cumbria (Source: Stone-Circles,n.d.: Online) Two thousand years ago the Romans also made their way into the region in search of mineral deposits (copper and lead) and later erected a hilltop fort in the nearby valley at Hardknott pass covering three acres. The fort was constructed between about 120 and 138 A.D., during the reign of the Emperor Hadrian.

It was abandoned during the mid second century, being preoccu-pied in 200 A.D. and continued in use until the late fourth century. The fort’s original garrison consisted of a detachment of 500 cavalry recruited on the Dalmatian coast. (Hunter, 2015, p.24)

18th | 19th Centuries

Figure 36 | 37: Honister’s Slate Mine Tramways and Incline Systems (Source: Honister, n.d.: Online)

During the 18th and 19th centuries livestock, sheep and cattle, hill farming became central to the valley economy. They also witnessed the rapid development of the local slate mining and gunpowder industries.

1824

Figure 38: The mill wheels, on the Langdale Hotel Resort (Source: Author, 2018) The Etlerwater Gunpowder Works was founded in 1824. The manufacture of gunpowder in Cumbria developed initially in response to demand from the mining and quarrying industries of the region.

Cylinders, where the Merz Barn currently is, had been an integral part of the local gunpowder works. It acquired its name through the famous Bishop of Llandaff, Richard Watson, who devised a new method of making charcoal. Carbon constitutes an essential ingredient in the making of gunpowder. The most suitable trees to produce charcoal were alder and birch and they were grown locally. The process involved cutting down the trees when they reach the required height, placing them in the 10-footlong steel cylinders, above, and finally heating them up to very high temperatures to make the carbon.

(Crossly, 2005, pp.102-3)

1882-1931

Figure 39: The Langdale Hotel Resort Cumbria (Source: Author, 2018) Production of charcoal in Cylinders Wood stopped in 1882 when this method was no longer considered profitable, and the shed housing the cylinders was dismantled. In 1926 production of gunpowder stopped in Elterwater, and in 1931, due to the high explosive nature of gunpowder, all the buildings on site were burned down to rid the land of any traces left of it. The site was later developed as a holiday centre with chalets and a small hotel. After the war, this became the four stars Langdale Country Club and Time-share, which still occupies the site, pictured above. (Hunter, 2015, p.24)

Harry Pierce Landcape Project | 1943

Figure 40 : Harry Pierce photographed in his Landscape Project: Cylinders Estate (Source: Carolina, 1952: Archive) The land across the road from the Langdale Hotel was originally the farm and black smithy attached to the gunpowder works and it is unclear what the barn, Schwitters later used, was originally used for.

The site was left alone until the Second World War, when many of the trees were cut down for timber.

In 1943, the land was sold of to Harry Pierce, pictured above. Harry Pierce had always been ambitious landscape designer and he was chief garden designer for Mawson’s, a well-known firm. Nearing retirement in 1933, with money left to him by an aunt, he bought the six acres wood. He wanted to turn the land in a garden of Eden or a miniature Kew Gardens, as Wantee later recalled. He rebuilt the barn, later used by Schwitters, gave it a temporary roof and used it as a hay store. He wrote a book about his plans for the site, Cylinders Estate, an Experiment. The book was never published, however when the Littoral Art Trust acquired the land in 2006, they were presented with Harry Pierce’s documentation of the site. Celia Larner, later typed it all up and compiled it into one document with the relevant photographs.

The book remains unpublished, however in an interview with Celia Larner earlier this year, she confirmed that she owns all the copyrights to the documentation and allowed me to have a copy. (Larner, 2018) For the purpose of this dissertation, the site housing the Merz Barn will not be discussed in detail, but the information is made available in the Appendix.

Figure 41: Jack Cook photographed in Cylinders Estate (Source: Carolina, 1952: Archive) The work required was too much for Harry Pierce to do on his own, so he asked for the help of Jack Cook, a friend and a colleague at Mawsons. Jack Cook worked alongside Pierce from 1943 as his gardener and handy man, and he continued to look after the site post Pierce’s death in 1966. Cook moved out in the 1970s and the land later fell in ruin, before the Littoral Art Trust acquired it in 2006. When Schwitters was too ill to work on the barn by himself, he hired Jack Cook for help.

Figure 42: Hutchinson Square Camp1, Douglas, Isle of Man (Source: F.K. Kramer, 1940, in Burkett, 1979, p. 7).

Schwitters in Britain 1940-1948

1.

Fred Uhlman (Fig. 42) described the Hutchinston Square (Fig. 41) in his book of illustration of the camp: Imagine a square in the middle of London consisting of some forty small and cheap lodging houses. Surround it with barbed wire and fill each house with between 30 and 40 men of all ages and professions. Imagine all windows painted blue and all electric light bulbs red [....] , and you have some notion of the Hutchinson Square Camp at Douglas.

(Uhlman, n.d. In Burkett, 1979, p. 6)

Figure 43: Portrait of Fred Uhlman (Source: Schwitters, 1941 in Daniel, 2018: Online).

The Lysaker Merzbau, Haus am Bakken

émigré artists including Fred Uhlman

,to be explored in chapter 05, was

(Fig. 43), who finally understood his

almost finished in 1940 when Nazi

art. He was able to set up a studio,

troops invaded Norway. As German

where he continued to make collages,

citizens, Schwitters and his son, Ernst;

sculptures

and Ernst’s wife, Esther could no longer

detainees and he painted on old

stay, and on the 9th of April they fled to

scraps of lino, pieces of wood and any

Britain. Their arrival in June coincided

other materials that came to hand. He

with the introduction of a new British

also staged recitals, wrote poetry and

government policy that regarded all

published in the internees’ journal,

German and Austrian nationals as

The Camp.

“enemy aliens”. As a result they were

detainees saw him as a curious relic of

interned in various detention camps

a dead avant-garde and according to

in Scotland and England before being

Uhlman, no one really appreciated him

placed in Hutchinson camp in Douglas

because they struggled to understand

on the Isle of Man. (Fig. 42) Ernst and

him.

and

portraits

of

other

However, many fellow

Schwitters were released from camps after thirteen and sixteen months,

We could not see the point of all

respectively. In this camp there were

that Dadaism then, it was all right in

many

intellectuals

1919 but this was 1936. It was even

and artists and contrary to his son’s

thought that he might have been doing

feelings, Schwitters was quite content

collages to hide the fact that he could

in the camps. There, he met with fellow

not paint. (Uhlman, In Burkett, 1979 p. 8)

other

German

59

Figure 44: Small Merz Picture of Many Parts (Source: Schwitters, 1945-6, in Elderfield, 1987)

Schwitters was released in the last

living

there

through

portrait

quarter of 1941 and he moved to

commissions and painting landscapes

live with his son in London, where

in a setting similar to that of Norway.

he spent the remainder of the war.

He had a relatively positive experience3

London, much like Norway, was an

in the Lakes (Fig. 45); he was financially

equally difficult time for Schwitters as

better than ever and in a letter to his

he was relatively unknown and under

son he wrote:

appreciated.2 Schwitters’ work in the English exile continued to develop,

In these three weeks I earned about

and “nature” could be observed more

what I need for five weeks. You see

prominently in his work (Fig 44). The

it is quite alright. I hope that I can live

development

anyhow in the summer. (Schwitters,

of

the

relationship

between Hans Arp and Schwitters and

1946)

how it influenced Schwitters’ take on nature in his work is further explored in chapter 05 in this dissertation.

Schwitters met Edith, Wantee, Thomas (Fig. 50) upon his arrival in London, whom later became his partner and together they moved to the Lake District in 1945 a month after the war ended in Europe. He hoped to make a 2 In Chambers’ and Orchards’ Schwitters in Britain (2013). Emma Chambers writes in Schwitters and Britain, a detailed description of his struggles in London and descriptions of the work he undertook while there.

61

Figure 45: The Landscape surrounding the site of the Merz Barn | Top of the Hill (Source: Author, 2018).

3 As Edith Thomas (Wantee) recalls: For him his arrival in the Lake District gave him a new found freedom. The quietness, and changing scene, reminded him of beloved Norway, and was a great inspiration to him.

Particularly the rock formation, the mountains, the trees, and tree trunks; also the beautiful waterfalls, and riverbeds. He loved the sweet mountain air, especially in autumn, with its divinely purple and reddish brown tints, shared with close companionship.

(Thomas, n.d, in Burkett, p. 8)

Pierce | Schwitters an Encounter, 1946

Figure 46: Portrait of Dr. Johnston (Source: Kurt Schwitters, 1947, in Armitt Library: Online).

In Late 1946, Schwitters fractured

Pierce’s house marked a very cheerful

a hip and was confined to bed. The

period in Schwitters’ life. Schwitters

doctor who was looking after him, Dr.

and Pierce’s relationship developed

Johnston, was a very well-known figure

and as Pierce recalled: ‘As the portrait

in Ambleside. Schwitters had painted

progressed, our acquaintance became

a portrait of him (Fig. 46) and it was

friendship.’ (Pierce, n.d., in Crossly, 2005,

displayed in a village Ironmonger’s

p.103) They understood each other

shop. Harry Pierce , who happened to

very well, which is possibly because

know Dr. Johnston and lived nearby at

they were quite similar in the way they

Walhwaite House, spotted the portrait

worked:

and thinking it was rather good he wanted one for himself. At that time,

He is a genius […] he lets the weed

Pierce was working on his Cylinders

grow, yet by means of slight touches he

Estate landscape project, mentioned

transforms them into a composition as

at the start of this chapter, so it was

I create art out of rubbish. (Schwitters,

decided that Schwitters would go to

1947 in Schulz, 2013, p.131)

Pierce’s property near Chapel Stile to paint the portrait (Fig. 47). Upon

In the same year, Schwitters became

completion of Pierce’s portrait, he was

a grandfather to Ernst and Eve’s little

further commissioned to paint Pierce’s

boy, Bengt. Schwitters was well aware

wife, Ida, and their son, Bill.

of the significance of his Merz work and in April 1946 he started looking for

The period of portraits sitting at Harry

means of preserving the work he had

65

Figure 47: Portrait of Harry Pierce (Source: Kurt Schwitters, 1947, in Archive)

already done. On his 60th birthday, on

to start a new Merz construction, the

June 20, 1947, Schwitters received an

Merz Barn, on Harry Pierce’s Wood,

official confirmation from MoMA (the

and as Pierce recalled later,

Museum of Modern Art, New York) saying that he had been awarded

Schwitters wished to work where I was

the sum of $1000 as a grant ‘for the

busy forming a garden on a hillside

continuation of your work, including

near my home. Whilst he painted he

recreation as far as possible.’ (MoMA,

asked me if I had any old barn where

1947, in Crossly, 2005, p.103)

he could start a fresh on his abstract work, this being impossible in his

In the summer of 1947, Pierce took

lodging. (Pierce, 1965, in Crossly, 2005

Schwitters and Wantee for a walk

p.107)

through his landscape project and Schwitters

absolutely

fell

in

love

with the place. The grant Schwitters received from MoMA entitled him to use the money for the reconstruction or the continuation of existing Merz constructions whether in Hanover or Lysaker, to be explored in chapter 05.

However, Schwitters, at the time, was not a British citizen and could not travel outside of England, so he chose

67

The Merz Barn 1947-1948

4 The agreement between Harry Pierce of Walthwaite, and Kurt Schwitters of 4 Millians Park, Ambleside, stated that the building was to be let for fifty years for the sum of ÂŁ52 rent per annum to be paid in two equal sums in January and July. The interior to be used for the exhibition of sculpture and pictures designed and executed by the lessee. The lessee to be responsible for repairs to the building and insurance against damage, theft or fire, storm or water. (Thomas, no date, in crossly, 2005, p.109).

In 1947 the rent for a small council house was 46p per week and the rent for a simple local cottage 20-50 p, the rent Schwitters was paying, ÂŁ1 per week, was too high, particularly for a barn that lacked water, light, power and proper access.

Figure 48: The Merz Barn Exterior (Source: Author, 2018).

In this Park he [Pierce] will build for me

Directors at MoMA, having decided that

on a prominent place a small house

Schwitters could use the money on

of 2 rooms, 4 x 4 and 4 x 2 meter. I can

any project he deemed appropriate,

build in these rooms a new Merzbau,

added that the payments were to be

No. 3, with the American Money‌ and

paid to him by cheque in quarterly

the house would be in a park, what

sums

is great for showing it. It would be a

bureaucratic complications, the money

Lakeland monument. (Schwitters, 1947

only reached Schwitters by mid-1947.

in Schulz, 2013, p.131)

Unfortunately, by then, Schwitters had

of

suffered

$250.

severe

However,

due

haemorrhage

to

and

The barn was a traditional dry-stone

he had to endure yet another period

construction in slate, without any

of confinement. Schwitters spent his

mortar, with an earthen floor and no

period of confinement to bed planning

windowpanes. (Fig. 48) It was built in

the Merz Barn, unlike his previous

1943, and used by Pierce as hay store,

Merzbauten, explored in chapter 05,

on the vestiges of a gunpowder store

which were continually altered and

that was burned down in the 1930s.

added to.

Pierce had plans of putting a cement floor and planting a grass roof, however

A month later in mid-August, when

when Schwitters took procession of

Schwitters made a sort of recovery, he

the barn, Pierce had just added a door

started collecting stones and special

and make shift windows.4

fragments of rubbish to incorporate in his Merz project; in the same way a

69

Figure 49: The Merz Barn Interior (Source: Author, 2018).

Bricoleur would, a theory that will be

twigs, wire and whatever that was at

explored in the next chapter. When

his disposal. Once mixed, with a table

the work started, the barn had no

knife, he laid the plaster on the rough

electricity, lighting or heating and when

stonewall, one layer at time until

it rained, water trickled down the back

smooth. When the surface dried, he

wall and flowed through the barn. The

made asymmetrical plaster swags,

back wall was cut into a steep bank

which he painted red and green, as

and the space within the barn was

he had intended to use vivid colours

divided into two areas by a stonewall

liberally in the Merz Barn. Within the

with an arched doorway. Pierce had

relief he

a proper wooden door made for the

he had collected, a segment of a

entrance of the barn and his son, Bill,

cartwheel, a china egg, a rubber ball,

made a small window (Fig. 49), which

a tin can and a broken wooden handle

Schwitters asked to be placed high

from a garden tool, and he intended

up on the wall to act as both, a light

to exhibit his collages and sculptures

source for the main wall to the left of

in various niches in the wall. (Crossly,

the doorway (Fig. 59) and ‘a fulcrum of

2005, pp.105-8) As Edith, Wantee,

the whole conception.’ Schwitters first

recalls: ‘It was such an extraordinary

started by filling in the crevices on the

experience to go into the barn because

wall with plaster, which Wantee helped

it was so beautiful. White and lovely

with mixing, using water from the

light colours. It was really exciting.’

two streams that ran through the site.

(Thomas, 1987 in Crossly, 2005, pp.105-

Schwitters reinforced the plaster with

8)

incorporated

things

that

71

Schwitters health was deteriorating and there was a lot of things he was

becoming

physically

unable

to perform. In a letter he wrote to Katherine Dreier, he expressed his need for more financial aid.

Yes, I was very ill again, I’m getting thinner and thinner, but my spirit cannot be killed. I work every minute that I am capable of working. My Merz Barn is better and more consistent than everything I’ve done before. But I need money. I hope MoMA will give me some more. It’s not possible to erect such a costly building for $1000. I have to make a new application. (Schwitters, 1947 in Crossly, 2005, p.112) Fortunately for Schwitters, the grant from MoMA was raised to $3000, which allowed him to pay Jack Cook (Fig. 41) for help with work on the barn, and he

Figure 50: Schwitters and Wantee (Source: Archive, n.d.).

continued

from

night before. It was severely cold, and

Wantee, Bill and Pierce. Autumn of the

he began to feel unwell, so he walked

same year, he learned that he would

out to seek help. He collapsed on

soon become a British citizen and

the way to Pierce’s house, fighting

he, eagerly, started planning for a trip

for breath and weeping from pain.

to the United States and Norway. As

Schwitters

winter approached, working conditions

Park, where he was put to bed.

in

unbearable.

He developed more infections, his

Bill recognised this and wanted to

condition continued to worsen, and it

carry out essential works to stop the

became more difficult to care for him.

water running down, which would

Early January 1948, he was admitted to

have involved major reconstruction.

the Old Workhouse Infirmary, Kendal,

He would have required a period of

where he died on January 8th of acute

two weeks to sort the drainage and

pulmonary oedema and myocarditis.

install a concrete floor, during which,

‘When he died, just six months after

Schwitters would have not been able

beginning work on the Merz Barn, it

to work. Recognising how little time

was no more than a fragment.’ (Schulz,

he had left, Schwitters denied Bill’s

2013, p.132)

the

to

barn

receive

became

help

was

taken

to

Millians

proposal of restoring the barn.

A couple of weeks later, Schwitters went to work on the barn despite experiencing acute breathlessness the

73

Figure 51: The Merz Barn (Source: Schwitters, E. n.d. In Archive, n.d.).

I Build My Time Kurt Schwitters I BUILD MY TIME I build my time In gathering flowers And throwing out the weeds.

I build my time In gathering fruits And throwing out all that is bad, And old, And rotten.

This leads me forwards To the death, To God And paradise (Abbot Hall Art Gallery, 1979)

The Merz Barn Post Schwitters’ Death

5 The agreement between Harry Pierce of Walthwaite, and Kurt Schwitters of 4 Millians Park, Ambleside, stated that [‌] in the event of the death of the said Kurt Schwitters before 50 years the permanent sculptures are to become the property of the lessor or his heirs on the condition hat an offer is made to a) Ernst Schwitters and to Edith Thomas either jointly or separately b) to MoMA and c) to any other art bodies in England, Any moveable work may be removed and become the property of Ernst or Edith in equal shares, Non payment of the rent breaks the lease and the contract becomes void.

Any moveable works to be shared by Ernst and Edith, but the permanent sculpture to remain the property of Pierce. (Thomas, no date, in Crossly, 2005, p.109).

Due to the terms on the agreement5

It was only two weeks after Schwitters’

signed by Schwitters for the lease of

death, when Pierce had demolished

the barn, Harry Pierce had full control

the wall and had plans of turning the

of the barn and it is thought that he

Merz Barn into a café, which Ernst

may have made minor additions and

agreed with. The wall he had knocked

alterations to the relief after Schwitters’

down, had been semi-circular in shape,

death in 1948. Edith (Wantee) Thomas

which Schwitters had started building

wrote in a letter to Ernst Schwitters:

within the rectangular barn interior.

In order to proceed with the works,

Mr. Pierce has acted rather badly. He

Pierce and his son, Bill, put down a

said the unfinished wall worried him

good concrete floor and constructed

because it spoiled the view of the most

a proper drainage system to stop the

important work, so he pulled it down. I

water running across the floor when it

found this decision very hard. Mr. Pierce

rained. Despite the barn not having any

is taking charge, collecting pictures for

water, heat, power or proper access,

the barn […] Mr. Pierce means well and

Pierce anticipated great success and

of course the main wall does show

he built a small box office window

to better advantage. But his decision

by the side of the Merz Barn door.

nevertheless has shaken my faith in

Unfortunately, after placing the new

him. After all the work he has destroyed

floor, Bill was killed in a motorbike

was a symbol of Jumbo’s last hard

accident and plans for the Merz Barn

struggle and energy. (Thomas, 1948 in

Café were never carried through.

Crossly, 2005, p.119)

77

Figure 52: The Merz Barn Interior (Source: Archive, n.d.).

In Kurt Schwitters, creator of Merz, M.E Burkett wrote a detailed description of his encounter with the Merz Barn, in 1958, ten years post Schwitters death as follows, We opened the old wooden gate and went up the path. White chickens and small cats ran through the undergrowth in front of us. There was no one about. We wandered through the coppice of birch; heather and autumn crocuses, in small clumps lay at our feet. The little stream’s gurgling was the only sound. As we approached a stone shed, we saw a smallcarved wooden object over the door and knew it must be barn. We cautiously pushed open the door and I can remember, we all stood still with a mixture of shock, awe and delight. In front of us was a bench on which there were a few paintbrushes, a palette, paint rag and other objects. Beyond was the Merz Wall, glowing in the sunlight that filtered through the cobwebcovered windows. On the floor stood two plaster and stone sculptured forms. The atmosphere was so striking that we whispered. It was just as though the artist had slipped out for a moment and would again return, and yet he had died ten years before. (Burcket, 1979, p.1)

Figure 53: The Relocation of Merz Barn Wall from Cylinders Estate, Lake District, England (Source: Archive, n.d).

By the 1960s, Pierce noticed damp

end wall, with its colourful relief was

creeping down the wall of the Merz

picked up (Fig. 53), and placed in a

Barn, became alarmed for its survival

room with similar interior lighting and

and had several attempts at selling

wall surfaces to those of the Merz

the work to different art galleries in

Barn, which was made especially for

England. Ideally it would’ve been

the wall in an attempt to imitate its

better to keep it in its original rural

previous surrounding. Very few traces

setting as Schwitters had previously

of Schwitters’ original work in the barn

declared that he wanted it to ‘stand

remains, some plastering on the wall

close to nature, in the midst of a natural

in the entrance and some nails. ‘Today

park’. However, in 1963, despite trying

the empty, modest barn is a quiet

to preserve the wall, the decision was

place of haunting remembrance of the

made to relocate the wall to the Hatton

Merz artist and his moving fate as an

Gallery in Newcastle. In 1965 the work

exile. (Schulz, 2013, p.132)

of dismantling began. Fred Brookes, under the supervision of Professor

Although the wall has been moved,

Rowntree, started by reinforcing the

the Merz Barn and Schwitters were

wall and covering the surface of the

not forgotten. The barn has become a

relief to ensure that it would travel

powerful symbol that many artists are

without any damages. Bridges from

drawn to explore, ‘…and the hut, more

Elterwater to Ambleside had to be

than the actual composition, speaks

reinforced, which brought up the total

to artists, and to the public more

cost of relocation to £5000. The 25 ton

generally of the possibility of creative

81

Figure 54: The Merz Barn in Restoration (Source: Archive, n.d.).

survival.’ (Curtis, 2013, p.4) In 1975, Elderfield published his PhD about Schwitters and the Merz Barn, and later in 1984 curated the major MoMA Kurt Schwitters Exhibition, which later travelled to the Tate in 1985. The catalogue, which contained important new information about the plan and layout of the Merz Barn site, inspired Ian Hunter, Director of the Littoral Art Trust, to make a visit to the Cylinders Estate. In 1999, the Littoral Art Trust organised the ArtBarns: a campaign encouraging artists to revisit the ‘Merz’ legacy and propose new directions for the Merz Barn. Out of which the current Littoral Art Trust’s campaign to save and restore the Merz Barn arose, and in 2006 they acquired the property. (Fig. 54) In the early 1980s, a 1:1 replica of the Hanover Merzbau was constructed by

83

Figure 55: The Merz Barn Replica at the Royal Academy of Arts, London (Source: Hawkins, 2014).

the

Swiss

stage

designer

Peter

should happen, it is not my idea of

Bisseger, under the commission of

conservation

but

the

alternatives

Haralad Szeeman and with the help

would’ve been to have proper plan for

of Ernst Schwitters. In 2011 a replica

it, look after it from the beginning as

of the Merz Barn was constructed in

should’ve happened from the day he

the courtyard of the Royal Academy

died. (Larner, 2018)

of Arts in London. (Fig. 55) In 2015, the Merzhytte, after having survived 60

This coincides with the wider debate

years of weathering, was dismantled

within

and relocated to Romsdaal Volkmuseet

restoration

for safekeeping. At the moment, the

communities around the meaning and

Hatton Gallery University of Newcastle,

purpose of heritage preservation and

the

Hanover

the ethical, practical and aesthetic

and the Henie Onstad Museum and

issues that arise as a result. It is with

Romsdal Museum in Norway have

this partly in mind and the ongoing

each embarked on building upgrade

debate about whether the Merz Wall

projects involving the restoration and

should make a return to the barn that

replication of surviving fragments of

the fragments, as defined in chapter

Schwitters’ Merzbauten. (Hunter, 2015

02, and different approaches to their

p. 21) In an interview with Celia Larner,

possible recomposition to achieve the

she commented on the above saying,

difficult whole, to be further explored in

Sprengel

Museum

the

international and

heritage,

conservation

the next chapter, are discussed in this This isn’t really how I think conservation

dissertation.

85

Figure 56: From a letter from Kurt Schwitters to his son Ernst 1947 (Source: Merzbarnlangdale: Online).

‘To be decorated. It is also a roof, and there are walls to the ceiling. You can walk under this roof.

In fact with the wall behind it, it is very much already decorated, Wantee and Mr Pierce help me.

Most like this, but quite different. I next do you a sketch in the barn rock. Just you see that I have already ?plastered. I am very much admiring your mind, that you say you would if necessary make money, but not for me. I do it myself’.

Figure 57: From a letter from Kurt Schwitters to his son Ernst 1947 (Source: Merzbarnlangdale: Online).

‘It lies in a wonderful scenery, 5:5m. 1,2.2 are windows. 4 is a door. 2 shall be the sky window.

The room before 4 is a big room for pictures to store and sell. 5 gets another door. You see, it is high. but it stands against a hill. Right. From 4 to 2 see two leading lines. They lead from the entrance to the light..-.. Then there are two other lines leading to the window 1. You walk left passing a roof down, looking on it and there are walls to the floor’.

Today,

only very few sources

of

information are made available to help in the partial imagination of how Schwitters’ last construction might have looked like. The sketches that can be observed in (Fig. 56 and 57) in letters Schwitters’ sent to Ernst while

working

on

the

barn,

the

reconstruction drawings (Fig. 59) in Brookes 1967, in John Elderfield’s, Kurt Schwitters and the photographs taken

by Ernst on the day Schwitters died, convey an impression of how the Merz Barn might have looked like, although certain details are clearly not correct.

Schwitters intended to divide the space with a drawn diagonal partition wall running from the door at the front left to the skylight at the far right, with a branch leading to the window in the left side wall. Additionally, there were to be low walls and lowered ceilings with curved shapes and bulges

Figure 58: Plan of the Elterwater Merzbarn, (Source: Elderfield, 1987)

designed to draw the light into the

p.

interior. Individual works by Schwitters

Schwitters first invented in 1919 and

would

accommodated

lived by since, is to create work by

on or in the niches in the walls. The

‘selecting, distributing and deforming

unfinished construction at the left

materials’ and by ‘constructing new

window gives an impression of how

artistic forms from the detritus of

Schwitters, in his customary manner,

past

was already creating acute-angled,

p.344) Relevant aspects of this will

spiraling,

be discussed in the next chapter and

have

been

convoluted

forms

from

intersecting guidelines, wooden laths

132)

Merz

cultures.’

principles,

(Schwitters,

which

1973,

compared to the work of a bricoleur.

and planks, connected by patches of plaster. However, this geometric substructure was destined to largely disappear under the relief-like finish of the walls. There is also the other Merzbauten, Cathedral of Erotic Misery, Haus which

am

Bakken

Schwitters

and

Merzhytte,

approached

in

fundamentally the same Merz manner, provide a great frame of reference and their similarities as well as stylistic differences will be explored in more detail in Chapter 05. (Schulz, 2013,

89

Figure 59: The Merz Barn Wall at the Hatton Gallery, Newcastle, England (Source: Author, 2018).

Chapter Four

Recomposition of Fragments

In chapter 2, within the context of

Schwitters’ Merz Barn, its aesthetical

this dissertation, various theories on

strength would be in the weathered

fragments and whole were introduced

fragment as it stands in the present

and discussed. The last chapter served

moment regardless of how it was

in introducing the Merz Barn; how it

left shortly after Schwitters’ death, or

came to be, how it fell in ruin and the

how much it deteriorated in the years

different ways in which it is regarded

that followed. The fascination arises

as a fragment. This chapter tackles

from the synthesis of its incomplete

the image and presence of fragments

form and the natural elements of the

and discusses, more elaborately, how

context it lies in, not in its synthesised

these fragments can be recomposed

form, complete with the Merz Wall, ‘a

to achieve the whole: by means of

ruin must be a ruin’ (Ginsberg, 2004,

bricolage.

p.318)

In Robert Ginsberg’s, The Aesthetic

The Classical endeavours to halt the

of Ruins (2004), the act of interpreting

matter of course, liberate the fragment

ruins, or fragments, is categorised in,

from

predominantly, two stances: Romantic

and understand the context and the

and Classical. The Romantic is built on

original intended form. In an interview

the notion that fragments are remnants

with Ian Hunter in October of last year,

of ‘irrecoverable past and thereby

he outlined the desires of the trust as

weighted with the burden of loss’

follows:

(Ginsberg, 2004, p.285). In the case of

96

destruction,

explore,

analyse

We need some architectural models

its preservation and protection from

that would help to explain to visitors

its degradation of time and nature.

and

Kurt

In an interview with Celia Larner, she

Schwitters had in mind for the finished

expressed her discontent with how

Merz Barn.

[…] What the Merz Barn

the Merz Barn was neglected for so

looked like shortly after he died […]

many years. ‘[…] look after it from the

What we think he wanted the Merz

beginning as should’ve happened from

Barn to look like had he developed it

the day he died. (Larner, 2018)

researchers

[…]

What

into mid-late 1948; i.e. the voids. and the light pathways. (Hunter, 2017)

Both

Romantic

interpretations

of

and

Classical

fragments

play

As opposed to the Romantics, the

an important role in defining the

Classicals experience the fragment

difference between the “image” and

as part of a whole, they appreciate it

the “presence” of the fragment. Lévi-

in the thought of what it used to be,

Strauss’, in The Savage Mind, presents

what it could have become and not in

a useful analogy, in which an “image”

what is experienced at present. They

is concrete, and a “concept” or the

are, like the Littoral Art Trust, constantly

“presence”, is abstract. (Lévi-Strauss,

collecting and analysing, filling in the

1972) For Ginsberg, the Classics focus

missing parts, in an attempt to recreate

on the image rather than the presence

the past and restore the original form

of the fragment, while the Romantics

and diminish the ambiguity. Here, the

focus on the presence rather than the

strength of the fragment lies in

image of fragment. He determines that

97

both approaches are wrong, arguing

concept pointed to by the image)’.

that the strength of the fragments lies

(Saussure, 1983, in Louridas, 1999,

in the unity of its presence and image.

p.3) This means that a sign is both the presence and the image of the

The Classical approach is wrong in

fragment, it is a concrete object,

putting the imaginary whole above the

but it is also an abstract entity, as

ruin, for the ruin, as whole, has greater

it represents something other than

imaginative

Romantic

itself. In the next chapter, a selection

approach is wrong in putting the felt

of Schwitters’ work will be presented

destruction of the whole above the

as

ruin, for we feel the min, a whole, with

text,

creative force. Both views are mistaken

sculptures;

in their lack of interest in the ruin’s

“Merz”. However, a more elaborate

unity. (Ginsberg, 2004)

explanation of bricolage and signs

power.

The

signs,

concrete

collages,

fragments

assemblages

representing

of and

Schwitters’

will be presented at the end of this

98

According to Lévi-Strauss, the unity of

chapter. Similarly, the means used by

abstract and concrete is what occupies

a bricoleur, the person performing the

the space in-between them, which he

act of bricolage, are both: concrete,

refers to as, “signs”. Signs are defined

as they are physically present; and

by Ferdinand de Saussure as: ‘an

abstract, as they can present various

assembled, two-sided entity consisting

concepts depending on the situation.

of a signifier (the image referring to

They are signs. With this partly in mind,

something) joined to a signified (the

this chapter introduces the early years

of Schwitters’ “Merz” and compares it to the act of “bricolage”.

99

Merz Painting

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 the tools needed. It does not matter whether the material used were originally made for any particular purpose or not. 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.

Reformulation of the materials can be achieved through their distribution on the picture surface.

This is aided by division, twisting, covering or painting over them. In Merz art, the crate cover, the playing card, the newspaper clipping become surfaces; strings, brushstrokes or pencil strokes become lines; a top layer of paint or stuck on sandwich wrap become glazing; cotton balls are used for softness.

Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the art work.

For those honestly prepared to follow me, these words should make it easier to empathize with my art. Not very many will want to. They will receive my new work as they always have when something new presents itself: with indignations and screams of scorn.

Schwitters, 1940-1946 in Schwitters and Fuchs, 2000, p. 90

Bricoleur

The bricoleur is adept at performing a large number of diverse tasks; but, unlike the engineer, he does not subordinate each of them to the availability of raw materials and tools conceived and procured for the purpose of the project. His universe of instruments is closed and the rules of his game are always to make do with “whatever is at hand�, that is to say with a set of tools and materials which is always finite and is also heterogeneous because what it contains bears no relation to the current project, or indeed to any particular project, but is the contingent result of all the occasions there have been to renew or enrich the stock or to maintain it with the remains of previous constructions or destructions.

(LĂŠvi-Strauss, 1972, p.11)

Figure 60: A Collage of Schwitters and Merz

(Source: Author, 2018)

Schwitters’ Merz, a Form of Bricolage?

1919-1933

.At the end of 1918 I realised that all values only exist in relation to each other and that restriction to a single material

is

one-sided

and

small-

minded. From this insight I formed Merz, above all as the sum of individual art forms, Merz painting, Merz Poetry.

(Schwitters, 1920 in Humphries, 1985, p.13) This

section

explores

Schwitters’

Merz, from its inception in 1918, as it sprung up, extended to cover all of his various fields of work and developed to maturity; until 1932, shortly before he was “exiled” in his home town, Hanover, which will be explored in, Schwitters in Exile in the next chapter. Schwitters’ early life, education and influences, from his birth in 1887 until 1919, was narrated at the start of this dissertation in chapter 1, which this section follows directly from.

Figure 61: Zeichnung A2. Hansi, 1918 (Source: Elderfield, 1987, p. IX).

One of the readings considered in

word fragment in an early assemblage.

chapter 2, was Venturi’s Complexity and

In the same year, he produced his

Contradiction in Architecture, in which,

first collages of discarded paper, (Fig.

he suggested that the complexity

61) and assemblages, in which he

presented in the ambiguity of the

incorporated a variety of small found

unfinished form triggers the intellect

object in a single composition. (Fig. 62)

in the reading of its form more than its resolved equivalent, rendering the

I had to shout out my exultation.

architecture

An

Thriftily I used whatever came to hand

important notion in the understanding

for ours was an impoverished land.

of the fascination with the fragment,

One can shout with garbage, and

appears to be this desire to render

that is what I did, gluing and nailing it

things

like

together. I called it Merz; it was prayer

waste, are valuable resources in the

about the victorious end of the war, for

wrong place. They represent memories

once again peace had conquered. As it

of what they used to be but have

was, everything had broken down and

potential to be recomposed in a new

it was necessary to build the new out

entity, without losing their significance

of the fragment. That is what Merz is

or their stories. Schwitters recognised

all about… It was like an image of the

this, when in 1918, he invented the

revolution within me, not as it was but

term Merz to describe his art. The term

as it ought to be. (Schwitters, 1918, in

Merz,1 was created by chance, from a

Crossley, 2005, p.14)

more

complete.

compelling.

Fragments,

1 Merz: a syllable taken from a bank’s letterhead “Kommerz und Privatbank,” it carries an aural association with “abmerzen” [“to reject”], and thus is related with the abandoned materials Schwitters resurrected and transformed.

(Finlay, A., et al, 1991)

.The act whereby artists and architects creatively transform their sources into original and personal statements is what Gombrich terms ‘the dynamic process of assimilation’. (Gombrich, 1963 in Pinto, 2015, p.2) It is also what defines the act of Bricolage, a name applied to the analysis of cultural systems in terms of the structural relations among their elements. It was developed by Lévi-Strauss, a French

social

anthropologist

and

leading advocate of structuralism; a theory of a science, which is ‘prior’ and ‘concrete’, demonstrated by the activity of Bricolage. The particularity of Bricolage, as opposed to any type of composition, is that it makes use of a repertoire of ample but nonetheless “pre-constrained” tools to create a project. This implies that the tools, or fragments (for the purpose of clarity in this dissertation) at hand, are remnants

Figure 62: Merzbild Rossfett 1919 (Source: Elderfield, 1987, p. III).

of previous projects, and hold their own

later redefined Merz against Dada;

significance, records and memories depending

on

their

origin.

The

I set Merz against a refined form of

Bricoleur does not use the fragments

Dada and arrived at the conclusion

as devices to fit the purpose of the

that while Dadaism only points to

project, they select, among a range

opposites, Merz resolves them by

of fragments, the most fitting pieces

giving them values within a work of art.

in the new composition and their

Pure Merz is art, pure Dada is non-art

particular characteristics can influence

– each consciously so. (Schwitters, 1923

alterations to the design. (Lévi-Strauss,

in Wyss, 2004, p. 78)

1972) Merz

continued

to

be

heavily

Schwitters was rejected from Dada

influenced by Dada and by mid-

in 1919 because he was regarded by

1919, Schwitters made his first Dada ‘i’

Huelsenbeck

insuffi-ciently

drawings, images constructed from

political artist.’ (Humphries, 1985, p.11) In

printers’ reject material and office

1920, he asserted his apolitical stance:

equipment, which he referred to as

‘Huels-endadaismus

politically

an elevated form of Merz; ‘i is […] the

against

sign for Merz’ grasping of artistic form,

culture […] Merz aims, as a matter of

taken to its highest degree.’ (Schwitters,

prin-ciple, only at art because no man

1922, in Schwitters, 1978 p.41) In 1919 he

can serve two masters.’ (Schwitters,

exhibited several collages in the Sturm

1920 in Humphries, 1985, p.12) and he

Gallery in Berlin, and later in galleries

oriented,

as

against

‘an

is art

and

107

.in Cologne, Dresden and Zurich. In the same year, Schwitters wrote a poem called An Anna Blume. (Fig. 63) a Merz poem, in which it was the sound of the poem rather than its sense that Schwitters wanted to convey. It was approached in the same manner of bricolage, assembled from heterogeneous fragments; snatches of conversation and fragments from newspaper, ‘pasted together poems from words and sentences so as to produce a rhythmic design.’ (Schwitters, n.d. In Elderfield, 1987 p.44) In 1920, Schwitters had not only earned his living as a writer, poet, journalist, typographer, performer, lecturer, and artist but had also been involved in almost every area of avant-garde practice.

Schwitters transformed himself into his

Figure 63: An Anne Blume (Source: Schwitters, 1919. In Steegemann, P. 1919, p.5).

own epicentre, into Merz: he became

among Schwitters most successful

the Merz artist of collage, sculpture,

years, financially, as he was the Chief

and the Merzbau, the Merz poet,

Typographer for the Hanover City

essayist, publisher, performing artist;

Council and running his successful

the Merz of all trades – in fact, Merz

advertising

itself. (Gerstner, 2004, p.217)

undertook typographical commissions

business.

He

also

for other cities and for influential From

1923

Schwitters

started

a

Hanoverians. In the same period, he

magazine that he called Merz, about his

began constructing a new project, the

art and the art he advocated, however

Merzbau, which he predicted would be

it struggled to make an impact even

the most important work of art he was

though it ran to several editions until

to ever create.

1932. It faced financial difficulties from the start, which could be because

His initial idea for the construction of

when Schwitters launched it, inflation

the Merzbau was to create a sculpture

in Germany was rapidly rising and the

in his studio from his existing collection

currency was virtually worthless. In the

of rubbish or “Merz”, which he named

same year he completed and recorded

the Cathedral of Erotic Misery, which

the Ursonate, a sound poem, and

later became known as the Merzbau.

published An Anna Blume among other

The concept behind the sculpture

things.

was to create a series of interlocking spaces that drew the spectator into the

The late 1920’s and early 1930’s were

centre of the structure. Instead of

109

looking at the work from outside,

often

Schwitters

to

would find at his feet. He had a vision

be inside it, and in sense part of it.

of totality, of an art that would be the

The construction was large, three

integration of all forms of art and of

dimensional, and the ribs that held

human life itself. (Schulz, 2011, p.7)

wanted

the

viewer

of

detritus

that

Schwitters

the component parts together were made from a mixture of wood and

Schwitters, spent his life wandering

plaster. Schwitters’ Merzbauten will be

about the streets of Hanover and all the

explored in the next chapter through a

places he visited or lived in, in search

series of images.

of fragments. He valued the discarded, ephemeral, torn and broken in and

To resume: A bricoleur can be defined

for themselves. He was obsessed by

as a resourceful person who works

his “found objects”; their lost history

with his hands and uses skilful means

and eventual transformation through

compared to those of a craftsman.

careful selection and redistribution.

Isabel Schulz, among other scholars,

Schwitters’ art was carefully composed,

explored

the

and he was an artist in the bricoleur

Schwitters’

tradition. Each fragment Schwitters

collages, writing and performances,

used, was originally a working part of

can also be understood as an act of

a whole; and in his art he sought not

constructing from fragments or waste.

only to find a place for that fragment in

Merzbau,

the ways much

in which

like

a new whole but also to give it a new Merz art itself was born of fragments,

110

identity. It was often difficult to trace

the origins of the “found objects”, like

built around the idea of aesthetic

the rusty piece of metal resembling

redemption,

a horseshoe. Schwitters called this

would collect found objects, namely

process ‘removing the innate venom’

fragments, and redeem them through

from things. ‘The work of art is

a process of careful composition in

produced by the artistic devaluation

new works of art. Hence, Schwitters’

of its elements […] what is essential is

Merz can be considered a form of

the process of forming.’ (Schwitters,

bricolage,

1927 in Wyss, 2004, p.78) Many of the

constructive nature of the way he

fragments mirrored a real world in

worked, a bricoleur.

in

and

which

Schwitters

Schwitters

in

the

all its signifying complexities, which the observer is supposed to read as metonyms; similar to how LéviStrauss defined “signs” in bricolage, to be explored in the next section of this chapter. In 1946 Schwitters said that he always ‘worked out of the material; and with all the relationships which are connected with the material.’

(Schwitters, 1946, in Humphries, 1985, p.14) This reiterates the fact that ‘Merz’ was

111

Chapter Five

The Signs

Schwitters in Exile 1933-1940

Arguably, Schwitters ‘period of exile started

122

early

1930’s

in

Merzbau.

Hanover,

following the 1929 stock exchange

In 1937, more or less involuntary,

crisis, after which the Nazi party

Schwitters followed in his son’s steps

emerged. It has been suggested that

and left for Norway, never to return

Schwitters started working on the

to his home again. This was a very

Hanover Merzbau shortly after the

difficult to bare period for Schwitters,

end of World War I, and his attempt

he felt isolated as no one seemed to

at publishing it came at the worst

understand his work nor paid attention

time possible in the wake of Hitler’s

to his art, he mostly suffered for being

regime. From 1933, as Adolf Hitler

cut of from his life’s work, Merzbau,

becomes dictator of Germany, political

that he has yet to finish. Following

situation became increasingly difficult

encouragements

for avant-garde artists, and many of

they began working on the second

them fled Germany. Schwitters was

Merzbau, Haus am Bakken. Schwitters,

repeatedly defamed in the National

Helma and Ernst first visited Norway

Socialist publications and his work

in 1929, and made several visits after.

was

Degenerate Art

In 1934, they discovered the Island

exhibitions, which were intended to

of Hjertøya, an island of the coast

humiliate the artists represented in

of the small town of Molde. In a hut,

them.

For the following couple of

which Schwitters rented, he began

years, Schwitters withdrew from the

constructing the Merzhytte; a structure

public and continued to work on his

which was not regarded as a Merzbau,

displayed

in

from

his

son,

but provides more frame of reference the

Merzbarn,

than

the

other

Merzbauten. It was only structure to have survived on site for over sixty years before being relocated to a museum in 2011.

123

Hanover Merzbau Cathedral of Erotic Misery

Ich und Meine Ziele As the structure grows bigger and bigger, valley, hollows, caves appear, and these lead a life of their own within the overall structure.

The juxtaposed surfaces give rise to forms twisting in every direction, spiralling upward.

An arrangement of the most strictly geometric cubes cover the whole, underneath which shapes are curiously bent or otherwise twisted until their complete dissolution is achieved [...] Each grotto takes its character from some principal components. There is the Nibelungen Hoard with the glittering treasures; the Kyffhauser with the stone cable; the Goethe Grotto with one of Goethe’s legs as a relic and a lot of pencils worn down to stubs; the submerged personal -union city of Braunschweig-Luneburg with houses from Weimar by Feininger, Persil adverts, and with my design of the official emblem of the city of Karlsruhe, the Sex- Crime Cavern, with an abominably mutilated corpse of an unfortunate young girl, painted tomato-red, and splendid votive offerings; the Ruhr district with authentic brown coal and authentic gas coke; an art exhibition with paintings and sculptures by Michaelangelo and myself being viewed by a dog on a leash; the dog kennel with lavatory and a red dog; the organ, which you turn anti-clockwise to play ‘Silent Night, Holy Night’ and ‘Come Ye Little Children; the 10% disabled war veteran with his daughter, who no longer has a head but keeps himself well, the Monna Hausmann consisting of a reproduction of the Mona Lisa with the pastedon face of Raoul Hausmann covering over the stereotyped smile; the Brothel with the 3 -legged lady made by Hannah Hoch; and the great Grotto of Love The Love Grotto takes up approximately 91/4 of the base of the column; a wide cut out-side stair leads to it, underneath which stands the Female Lavatory Attendant of Life in a long narrow corridor with scattered camel dung. Two children greet us and step into life; owing to damage, only part of a mother and child remain. Shiny and broken objects set the mood. In the middle a couple is embracing: he has no head, she no arms

Between his legs he is holding a huge blank cartridge. The big twisted-around child’s head with syphilitic eyes is warning the embracing couple to be careful. This is disturbing, but there is reassurance in the little bottle of my own urine in which immortelles are suspended. I have recounted only a tiny part of the literary content of the column. Besides, many grottoes have vanished from sight under later additions, for example Luther’s Corner. The literary content is dadaist: that goes without saying, for it dates from the year 1923, and I was a Dadaist then [...] But the column has been under construction for seven years and has taken on a more and more severely formal character, in keeping with my spiritual development, especially insofar as the outer sculpture is concerned. The overall impression is thus more or less reminiscent of the Cubist painting or Gothic architecture (not a bit!) I have given a fairly detailed description of the KdeE (Cathedral of Erotic Misery), because this is the first reference to it in print, and because it is very hard to understand because of its ambiguities [...]

Schwitters, 1931 in Elderfield, 1985, pp. 154, 161, 169 Figure 64: Hanover Merzbau Interior (Source: Schwitters, 1920, in Elderfield, 1987.: p.)

Figure 65: Ground floor plan of Schwitters’ house at Waldhausen strasse 5, Hannover (Source: Elderfield, 1987) Shaded areas indicate the principal rooms occupied by the Merzbau.

1: Schwitters’ first studio, c. 1918-21 A: Site of the 1920 column 2: Schwitters’ principal studio and the most fully developed room of the Merzbau, 1923 3: Balcony: Merzbau extended here c. 1925—26 4: Room taken over as studio then as part of the Merzbau c. 1925-26 5 and 6: Kitchens 7: Entrance hall 8: Street entrance to house

Figure 66: Kurt Schwitters’ Merzbau 1933, reconstruction by Peter Bissegger 1981-3 (Source: Tate, 2007: Online)

Figure 67: A Sketch floor plan of The Cathedral of Erotic Misery in Hannover (Source: Author, 2018)

130

Described as one of the ‘enduring myths’ in modern art (Orchard, 2013), the Hanover Merzbau continues to generate excitement and inspiration for many contemporary installation artists, designers and architects, and curators. The original Hanover Merzbau installation began as an ‘outgrowth’ of an earlier Merz sculpture in his studio. This work eventually expanded to occupy about eight rooms in his parent’s house at 5 Waldhausenstraße, located in a leafy suburb of Hanover. It was largely improvised and experimental work which he later described as having opened up ‘a new domain in art’. The Merzbau

Figure 68: A Sketch axonometric of The Cathedral of Erotic Misery in Hannover (Source: Author, 2018) was partly a personal project on the part of Schwitters. Although not a secret, he opened the project up to friends and to other colleagues by invitation. Dr Michael White also commented recently that Schwitters’ work on the Merzbau seemed to accelerate after his father died in 1931 and, presumably, the artist felt freer to expand both the scope and scale of the project. Sadly, the Hanover Merzbau project was later destroyed by allied bombing during 1943. (Hunter, 2015, p.19)

131

Lysaker Merzbau Haus am Bakken

Figure 69: A Sketch floor plan of The Haus am Bakken in Lysaker (Source: Author, 2018)

134

A second Merzbau was begun in the garden of the apartment Schwitters had rented in Lysaker, near Oslo that he called the Haus am Bakken, (House on the Slope). The Merzbau work was later destroyed by arson in 1951, all that remains are some plans of the exterior drawn up by Ernst Schwitters. There are no known visual records of its interior, though according to his son Ernst its structure was very similar to that of the Hannover Merzbau. Schwitters began plans for the new ‘Lysaker’ Merzbau around July 1937 and started work on the exterior in earnest in the autumn of that year. The artist had also begun to think about making a portable Merzbau that could be moved to locations, where it would be accessible to

Figure 70: A Sketch axonometric of The Haus am Bakken in Lysaker (Source: Author, 2018) artists and the general public. His son Ernst made drawings of the Lysaker Merzbau housing structure for the local Planning Department in Oslo, in early 1938. The building department first demanded he tear the Merzbau down, then grudgingly granted him official planning permission, then withdrew it once more.

Merzbau II survived, however, and by May 1938 Schwitters had started work on the interior. He worked intermittently on the upper and lower room of what had become a combined studio/Merzbau until 1939/1940, and it was almost completed when Nazi troops invaded Norway in April 1940. After a perilous flight to the far north, he left Norway for Britain in June 1940, never to return. (Hunter, 2015, pp.19-20)

135

Nature in the Work of Kurt Schwitters

When Schwitters encountered new

depicting it. Hans Arp (1886-1966), one

influences,

‘Merz’

of Schwitters’ closest acquaintance,

to reflect this. In the early years of

was key in the development of the

his career, narrated in the previous

Dada movement from its inception

chapter, Schwitters attempted to join

in Zurich in 1916. Arp expressed the

the Berlin Dada group. Schwitters,

impermanence of life in his work,

choosing to connect with the organic

focusing on ‘the unending cyclical

processes of nature, aligned himself

rhythm of the universe.’ (Arp, 1966,

with Zurich Dadaists instead, who

p.241) Arp declared that nature’s eternal

explored the relationship between art

becoming was the purpose of his work,

and nature rather than art and politics.

and central to his aim was the notion

Gamard described this Zurich Dada as:

of continual metamorphosis. Arguably,

he

transformed

Schwitters’ Merz, changed to reflect a rejection of the social and political

this; organic creation and tendency

programs of Berlin Dada and the

towards decay, appeared in Schwitters’

concomitant

art

later work. The notion of the work’s

and

autonomous power to evolve apart

nature

from the artist’s deliberate creation can

based, ‘organic’ dada. (Gamard, 2010 in

be observed in Schwitters’ Merz Barn

Pounds, 2016, p.21)

through his decision to facilitate decay

conditioned

embrace by

circumstances—a

of

an

particularities kind

of

in the project. (Pounds, 2016) Arp and

138

They perceived their art as developing

Schwitters often searched for “found”

according to nature, and not just

materials together, ‘[…] I went with Arp

along the sea and picked up material,

illustrated

in

the

final section

of

Merz material. Arp was interested and

this chapter. These works serve as

gave me also some pieces of wood or

precedents in the reimagination of the

stones.’ (Schwitters, 1946) Schwitters

Merz Barn, which was subject to more

indicated his own interest in organic

nature than any of Schwitters’ previous

growth through multiple statements,

Merzbauten.

such as ‘art is never the imitation of nature, but grows according to equally stringent laws, like nature herself.’

(Schwitters, 1946) During the period of his exile, explored at the start of this chapter, Schwitters incorporation of nature in his work became more apparent and more frequent.

Arguably,

this

partially

resulted from working in more rural setting after fleeing Hanover in 1937. To observe Schwitters’ increasing reliance on nature in his work, one can examine his later Merzbilder, while in exile, illustrated in the timeline at the start of this dissertation; and his Merzhytte,

139

Merzhytte

Figure 71: A Sketch floor plan of Merzhytte in Hjertøya (Source: Author, 2018)

142

During the 1930s Schwitters, with his wife Helma and son Ernst spent part of their summer holidays on the Norwegian island of Hjertoya, located near Molde on the Norwegian west coast. In the summer of 1934 Schwitters rented a small stone hut (originally a potato store) on the Island, which he began to use as a summer studio and temporary accommodation . Over time he gradually created an interior of different abstract sculptural forms, some of which were similar to those of the Hannover Merzbau.

Although exposed to the harsh fjord winters for more than 60 years, the entrance lobby and central room of the Merzhytta are still endowed with a rich collection of fragments of collaged surfaces,

Figure 72: A Sketch axonometric of Merzhytte in Hjertøya (Source: Author, 2018) and 2D assemblages; pieces from other damaged art works which, until recently, littered the floor and shelves. Although the hut has been known about and visited by art experts over the years, it is only recently that detailed research and conservation work has been undertaken of the art works in the Merzhytta. The construction of a new museum to house the work has been started at the Romsdal Folk Museum in Molde. It is possible that the Hjertoya Merzbau may also contain important references and clues to the construction and stylistic development of the later Elterwater Merz Barn, to which it seems closely related. (Hunter, 2015, p.20)

143

Conclusion

In

architecture,

as

in

fine

arts,

life, to discover its qualities, to follow

photography, theatre and cinema, an

the traces of what’s already there and

approach akin to the act of bricolage

to use it as a basis for new insights and

emerged during the modernist era.

new form. (Johnston, 2005, p.81)

(Baden, 2001, p.8) The movement was started by Alison and Peter Smithsons

The “As-Found” values the ordinary

and their approach consisted ‘carefully

and finds potential in everything, even

looking, picking up, turning over and

the most ordinary of everyday objects.

putting with’. (Johnston, 2005, p.98) The

Within this, a link can be drawn back

young British architects named their

to Kurt Schwitters’ Merz: the practice

concept “As found”, Schregenberger,

of organising “found objects” within a

co-curator of the “As Found” exhibition

work of art.

in 2001 at Museum Für Gestaltung in Zürich, explained the movement as

Schwitters has shown that it is possible

follows:

to make art out of anything- so long as one is an artist. Used tram tickets,

146

It is an attitude, an interest, an

pieces of cardboard, or corrugated

approach to architecture and art. As

paper, corks, matches, rags – all is

Found is about the here and now,

grist to the creative imagination, and

about truthfulness and reality, about

Schwitters has pursued this line of

the common and the ordinary. It is

development far beyond the point

not about visions and remote ideals. It

reached by Juan Gris and Picasso.

means carefully observing everyday

Schwitters is the supreme master of

the collage. (Read, 1944 in Chambers,

his philosophy on art, are unique.

2013, p.13)

However,

it

becomes

even

more

unique when his life is taken into Each

of

Schwitters

the

Merzbauten,

created

in

which

consideration.

Germany,

Norway and England, has been largely

Schwitters

destroyed, whether by an air raid, fire

as: ‘the development into pure form

or simply time and weather. The notion

of

of subjectivity, implied by the act of

upon his consciousness’, (Schwitters,

bricolage was introduced by Lévi-

n.d, in Humphries, 1985, p.19) it had

Strauss, within which, the bricoleur is

become a three-dimensional image

giving an account for ‘his personality

of his mental life. It functioned like

and life by the choices he makes

a time capsule, in which history,

between

possibilities.’

memories and Schwitters’ entire life

(Lévi-Strauss, 1972, p.11) Even if the

could be stored. The Merzbau was

work is left unfinished, or only consists

flexible, not fixed in time or space,

of fragments; the bricoleur leaves

so that Schwitters’ private moods

something of himself in the work, as he

and historical experiences could be

is continuously selecting and reforming

adapted to the temporal dimensions

these “found-objects”. Without doubt,

of past and present and to changes in

Kurt Schwitters’ work; his ideas of

space. ‘In this state it approaches the

formation that underpinned both the

idea of Merz, the idea of continuous

material processes of his collages and

recasting, of an artistic process without

the

limited

described

everything

that

the had

Merzbau impinged

147

bounds, without beginning and without

The Merz Barn lives more powerfully

end.’ (Nundel, 1981, p.16)

in our imagination, it will ‘continue growing in the memory of those who

If one thinks of the Merzbauten as

saw it […] in the speculations of art

‘fragments’, analyses them according

historians. To each his own concept

to their functions and use, and in

of the Merzbau’ (Nundel, 1981, p.16) It

particular, the role of Kurt Schwitters as

was an assemblage, which Schwitters

a living element of his structures. Then

repeatedly stated remained ‘unfinished

it becomes apparent that these early

on principle’ and could, theoretically,

avant-garde spatial projects cannot

be continued and infinitum.

be recreated, and any attempt at restoring the Merz Barn will result in a poor imitation of the original, lacking all the detail and devoid of imagery. They can however remain entities in their own rights, signs: physical fragments that

signify

the

more

significant

abstract, which is the notion of Merz as Schwitters’ Legacy. The Merz Barn can perhaps only be viewed as precursors of artistic activities such as mapping, performative

installation

or

practice. (Orchard, 2004, p.45)

148

social

149

In the midst of some animated conversation he would stop suddenly, sunk in deep contemplation. You would have thought that he was watching some miracle in nature.

One could never guess what on earth had fascinated him in that insignificant piece of ground. Then he would pick up something which would turn out to be an old scrap of paper of a particular texture, or a stamp or a thrown away ticket. He would carefully and lovingly clean it up and then triumphantly show it to you. Only then would one realise what an exquisite piece of colour was contained in this ragged scrap. It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order.

(Gabo, n.d. in Schwitters, 1948)

Author’s Note

I came to know of Schwitters by an indirect route, owing to a casual conversation I had with Dominic Sagar in October 2017. I then got to know the whole of Kurt Schwitters gradually. It started on October 21, 2017, when the Littoral Art Trust hosted a barbecue and an art exhibition in memory of Schwitters life. During the event, a lot of the things taking place did not make sense to me. The cheering and the awes to the sound poems being performed on the day; ‘is this some secret language that everyone else in the room can understand but me? I clap anyway, in fear of not fitting in.’ The artists, who contributed work to the exhibition, talked about how inspiring Schwitters is to their work. Ian Hunter talked ever so passionately about how Schwitters has become an inspiration to famous architects all over the world.

He spoke of how an incredible work of art the Merz Barn is, truth is, I couldn’t tell which of the three buildings on site was the Merz barn. (I missed the sign the first time around) This triggered an interest within me and out of curiosity, I wanted to find out who this person is and the reason why everyone is speaking so greatly of him. The Manchester School of Architecture has been involved with the Merz Barn Project throughout my bachelor’s degree, and I always wondered of reasons behind the significance of the Merz Wall. So, I embarked on my journey of discovery, unravelling pieces of writing, sketches, drawings and accounts from people that personally knew him.

At the start of my journey, one which I like to think was quite archaeological, I

154

thought that the Merz Wall held no significance to the barn. To be perfectly honest, contrary to Celia’s thoughts on restoration, it did not really matter to me if the wall moved to the Hatton gallery in Newcastle, or if the Merzhytte was moved entirely to a museum. In Schwitters’ case, I always felt that he left behind more than a wall or barn. I walked into the barn on two occasions. The first, being in October with no prior knowledge of Schwitters and the second, in January, after having conducted in-depth research on him. I felt nothing the first time, but the second I was flooded with emotions, it was what I now knew of him that changed my feelings about the space, not the space itself. I had always thought that I would feel nothing towards his Merz Wall or his other works, but then I visited the Merz Wall in Newcastle, via a video call, and again I was left speechless. A couple of months later, I moved to Germany on my Erasmus Exchange, and I had the privilege of visiting the Sprengel Museum, which holds the biggest Archival material for Schwitters’ Kunst, as well as other exhibitions that had some of Schwitters’ collages and assemblages. I found myself in awe, every time I was presented with a new piece of Schwitters’ work.

My dissertation was subject to continuous alterations, and the more I learned about Schwitters, the more this turned into a pure appreciation for his Legacy. While I write this final note, I’ve come to realise, that I am in favour of keeping the wall in Newcastle. I am no longer indifferent, and I now fully support the dispersion of his work. It is only this way, that people will become touched by his Legacy, in exactly the same way I was.

Schwitters exhibited himself to the world in a colour that is not afraid, not terrified, not hesitant. He didn’t let society break him, he broke through it instead. He left behind a legacy, made art out of his wounds and the fragments he was left with.

Whether or not the art is appealing to the eye, his story touched me, personally. I have now become one of those people I never quite comprehended; I now speak passionately of Schwitters, his art and the great Legacy that he left behind. And I look back to that night in October; all these vague memories, they now make sense, perfect sense.

155

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M.Arch. University of East London.

Kurt Schwitters and the Merz Barn project: Proposals for the restoration and development of Kurt Schwitters’ Merz Barn project and the associated Lakeland heritage landscape gardens at the Cylinders Estate Elterwater, Cumbria. (2015).

Pounds, M. (2016). (Un) Forming Nature: Kurt Schwitters’ Merz Barn (1947-1948). M.A. Graduate School of the University of Oregon.

Sheffield School of Architecture (2014). Merz Legacy live project. Sheffield: University of Sheffield.

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Pierce, H. (n.d.). Cylinders Farm, Elterwater, Ambleside, Cumbria: an Experiment.

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Petermann, S., Ning, O., Stringer, B., Shirley, R., Povall, R., Murdin, A., McDonald, M., Hudson, M., Buckland, D., Ihlein, L., Fisher, L., Fox, E., Fletcher, Z. and Bridgman, C. (2017). HYPER-RURAL: the end of Urbanism?.

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I Build My Time: The Last Years of Kurt Schwitters. (1975). [film] Directed by T. Powell.

United Kingdom: Platypus Films.

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Schwitters, K. (2010). Kurt Schwitters - Ursonate (1932). [video] Available at: https://www.youtube.com/watch?v=6X7E2i0KMqM [Accessed 7 Dec. 2017].

Snow, D. (2018). David Baddiel. [podcast] Dan Snow’s HISTORY HIT. Available at: https://www.acast.com/dansnowshistoryhit/davidbaddiel [Accessed 1 Mar. 2018].

TateShots (2013). Kurt Schwitters - ‘Merz Barn’. [video] Available at: http://www.tate.org.uk/context-comment/video/tateshots-kurtschwitters-merz-barn [Accessed 17 Nov. 2017].

Interviews | Correspondence Hunter, I. (2017). The Merz Barn Project Larner, C. (2018). Kurt Schwitters, Harry Pierce and the Cylinders Estate.

Røstvik, H. (2018). Wittgenstein’s Hut Restoration Project Site Visits Elagouz, L. (2018). Abbot Hall Art Gallery. Langdale, England.

Elagouz, L. (2017). Armitt Gallery Museum and Library. Ambleside, England.

Elagouz, L. (2018). Hatton Gallery Newcastle University. Newcastle, England.

Elagouz, L. (2018). Museum Insel Hombroich. Neuss, Germany.

Elagouz, L. (2018). Museum Ludwig. Cologne, Germany Elagouz, L. (2018). Sprengel Museum. Hanover, Germany Elagouz, L. (2017). The Elterwater Merz Barn. Ambleside, England.

Elagouz, L. (2018). The Elterwater Merz Barn. Ambleside, England.

Elagouz, L. (2018). The Tate Britain. London, England.

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Research Methods

Books Blundell-Jones, P. (2002). Modern architecture through case studies. Oxford: Architectural Press.

Borden, I. and RuĚˆedi, K. (2006). The dissertation. Amsterdam: Elsevier/Architectural Press.

Groat, L. and Wang, D. (2013). Architectural research methods. Hoboken: Wiley.

Kevin Lynch. (1975). Image of the city. Cambrige, Massachusetts: MIT Press Lange, A. and Lange, J. (2012). Writing about architecture. New York: Princeton Architectural Press.

Lucas, R. (2016). Research methods for architecture. London: Laurence King Publishing.

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Bibliography | List of Images

Figure 2 | Schwitters, K. (1906-07) ‘Selbstbildnis mit Kamelienzweig.’ Oil on board, 62 x 30 cm. In: Elderfield, J. (1987). Kurt Schwitters. New York, N.Y.: Thames and Hudson.

Figure 3 | Schwitters, K. (1911) ‘Das Leinewehr.’ In: Lipp, T. (2016). Terri Maxfield Lipp. [Online] [Accessed on 27th March 2018] http://tmlarts.com/kurt-schwitters/ Figure 4 | Schwitters, K. (1917) ‘Helma Schwitters mit Blume.’ Oil on board, 66 x 48.9 cm. In: Lipp, T. (2016). Terri Maxfield Lipp. [Online] [Accessed on 27th March 2018] http://tmlarts.com/kurt-schwitters/ Figure 5 | Schwitters, K. (1918-19) ‘Das Merzbild.’ In: Lipp, T. (2016). Terri Maxfield Lipp. [Online] [Accessed on 27th March 2018] http://tmlarts.com/kurt-schwitters/ Figure 6 | Schwitters, K. (1919) ‘Das Kreisen.’ In: MoMA (n.d.). Inventing Abstraction. [Online] [Accessed on 27th March 2018] https://www.moma.org/interactives/ exhibitions/2012inventingabstraction/ work=202

Figure 11 | Schwitters, K. (1922) ‘Blauer Vogel.’ Collage, 20.3 x 17.8 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.XI New York, N.Y.: Thames and Hudson.

Figure 12 | Schwitters, K. (1923) ‘Miss Blanche.’ Collage, 15.9 x 12.7 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.XVI New York, N.Y.: Thames and Hudson.

Figure 13 | Schwitters, K. (1924) ‘Typoreklame’ Letterpress, 29.8 x 22.2 cm In: MoMA (n.d.). MoMA Art and Artists. [Online] [Accessed on 27th March 2018] https://www.moma.org/collection/ works/8661 Figure 14 | Schwitters, K. (1924) ‘Relief mit Kreuz und Kugel.’ In: Elderfield, J. (1987). Kurt Schwitters. p.XVII New York, N.Y.: Thames and Hudson.

Figure 7 | Schwitters, K. (1919) ‘An Anna Blume.’ In: Lipp, T. (2016). Terri Maxfield Lipp. [Online] [Accessed on 27th March 2018] http://tmlarts.com/kurt-schwitters/

Figure 15 | Schwitters, K. (1926) ‘Kleines Seemannsheim.’ Assemblage, 67.5 x 52 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.XIX New York, N.Y.: Thames and Hudson.

Figure 8 | Schwitters, K. (1920) ‘Merzbild 169. Formen in Raum.’

Collage, 18 x 14.3 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.XI New York, N.Y.: Thames and Hudson.

Figure 16 | Schwitters, K. (1927) ‘Untitled,’ Collage, paper on paper, 31,1 x 22,7 cm In: Kurt und Ernst Schwitters Stiftung (n.d.). Kurt und Ernst Schwitters Stiftung . [Online] [Accessed on 27th March 2018] http://www.schwitters-stiftung.de/ english/ks-collagen.html

Figure 9 | Schwitters, K. (1921) ‘Merzbild 32A. Das Kirschbild.’ Assemblage, 91.8 x 70.5 cm. In: Elderfield, J. (1987).

Kurt Schwitters. p.VIII New York, N.Y.: Thames and Hudson.

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Figure 10 | Schwitters, K. (1921) ‘Merz Konstruktion.’ paint on wood, paper, metal mesh, 36,8 x 21,6 cm, In: Bertron, J. (2013). Archive Dada [Online] [Accessed on 27th March 2018] http://archives-dada.tumblr.com/ post/43565631659/kurt-schwittersmerz-konstruktion-1921-bois

Figure 17 | Schwitters, K. (1928) ‘Der Zinnobersclager’ Letterpress, 31.1 x 23 cm In: MoMA (n.d.). MoMA Art and

Artists. [Online] [Accessed on 27th March 2018] https://www.moma.org/collection/ works/8389 Figure 18 | Schwitters, K. (1930) ‘Oorlog’ Collage, 31.2 x 23.5 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.XXII New York, N.Y.: Thames and Hudson.

Figure 19 | Schwitters, K. (1931) ‘Neues Merzbild.’ Assemblage, 81.9 x110.5 cm.

In: Elderfield, J. (1987). Kurt Schwitters. p.XXI New York, N.Y.: Thames and Hudson.

Figure 20 | Schwitters, K. (1932) ‘Ursonate.’ In: Kurt und Ernst Schwitters Stiftung (n.d.). Kurt und Ernst Schwitters Stiftung . [Online] [Accessed on 27th March 2018] http://www.schwitters-stiftung.de/ english/ks-collagen.html

Figure 25 | Schwitters, K. (1939) ‘Merzbilde med regnbue’ Assemblage, 155.9x 121 cm. In: Elderfield, J. (1987).

Kurt Schwitters. p.XXV New York, N.Y.: Thames and Hudson.

Figure 26 | Schwitters, K. (1941) ‘Untitled’ In: Lipp, T. (2016). Terri Maxfield Lipp. [Online] [Accessed on 27th March 2018] http://tmlarts.com/kurt-schwitters/ Figure 27 | Schwitters, K. (1945) ‘Heavy Relief’ Assemblage, 52x45 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.XXVIII New York, N.Y.: Thames and Hudson.

Figure 28 | Schwitters, K. (1947) ‘Untitled’ Plaster and bamboo, 82 x 24 cm. In: Elderfield, J. (1987). Kurt Schwitters. New York, N.Y.: Thames and Hudson.

Figure 21 | Redemann, W. (1932) ‘Hannover Merzbau: Die Goldgrotte’ Photograph In: Elderfield, J. (1987). Kurt Schwitters. New York, N.Y.: Thames and Hudson.

Figure 30 | Schwitters, K. (1941) ‘Self Portrait’ In: Art Stack (n.d.). Art Stack.

[Online] [Accessed on 27th March 2018] https://theartstack.com/artist/kurtschwitters/self-portrait-294

Figure 22 | Schwitters, K. (1933-34) ‘Pino Antoni’ Collage, 59.1 x 45.5 cm.

In: Elderfield, J. (1987). Kurt Schwitters. p.XXIII New York, N.Y.: Thames and Hudson.

Figure 31 | (1926) ‘Schwitters’ house at Waldhausenstrasse 5, Hannover’ Photograph In: Elderfield, J. (1987). Kurt Schwitters. New York, N.Y.: Thames and Hudson.

Figure 23 | Schwitters, K. (1935) ‘Relief in Relief.’ Oil paint on wood and plaster In: Tate Britain (2016). Tate Galleries [Online] [Accessed on 27th March 2018] http://www.tate.org.uk/art/artworks/ schwitters-relief-in-relief-t01259

Figure 32 | Schwitters, K. and Doesburg, T. (1923) ‘Kleine DADA soirée’ colour lithograph image/sheet 29.8 x 29.8 cm In: Art Gallery NSW (1999).

Art Gallery NSW. [Online] [Accessed on 27th March 2018] https://www.artgallery.nsw.gov.au/ collection/works/268.1984/

Figure 24 | Schwitters, K. (1936) ‘Pariser Frühlingr.’ Collage, oil and wood on plywood 60.1x 49.6 cm. In: Geiser, N. (2014). Nice Collection. [Online] [Accessed on 27th March 2018] http://nicecollection.tumblr.com/ post/99559164641/kurt-schwitterspariser-fr%C3%BChling-1936-collage.

Figure 33 | Schwitters, K. (1938) ‘untitled’ In: Kultur-Online (2018). Art Kultur-Online . [Online] [Accessed on 27th March 2018] http://kultur-online.net/node/33617

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Figure 34| Sharpe, K. (2017) ‘Neolithic rock art drawing, Copt Howe, Langdale Valley’ Photograph In: Ullswater Way (2016). Friends of the Ullswater Way Blog [Online] [Accessed on 27th March 2018] https://ullswaterway.wordpress. com/2017/11/08/patterns-ofmovement-mapping-prehistoriccup-marks-across-the-lake-districtlandscape/ Figure 35 | ‘The Roman Fort near Hardknott pass, Cumbria’ Photograph In: Stone-Circles (n.d.). Hardknott Castle Fort [Online] [Accessed on 27th March 2018] http://www.stone-circles.org.uk/ stone/hardknott.htm Figure 36 | 37 | ‘Honister’s Slate Mine Tramways and Incline Systems’ Photograph In: Honister Slate Mine (n.d.). Honister.com [Online] [Accessed on 27th March 2018] http://honister.com/history/ Figure 40 | (1952) ‘Harry Pierce in his Landscape Project: Cylinders Estate’ Photograph, In: Larner, C. (n.d.). Harry Pierce, Cylinders: an Experiment.

[Archive] Figure 41 | (1952) ‘Jack Cook in Cylinders Estate’ Photograph, In: Larner, C. (n.d.). Harry Pierce, Cylinders: an Experiment. [Archive] Figure 42 | Kramer, F.K. (1940) ‘Hutchinson Square Camp, Douglas, Isle of Man’ In: Burkett, M.E. (1979). Kurt Schwitters creator of Merz. Ulverston, Cumbria: Reminder Press.

Figure 43 | Schwitters, K. (1941) ‘Portrait of Fred Uhlman’ 127 x 92 mm In: Daniel, H. (2018). Tate Archive [Online] [Accessed on 27th March 2018] http://www.tate.org.uk/art/ archive/items/tga-20052-2-7-162/ photographer-unknown-postcard-

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featuring-an-image-of-portrait-offred-uhlman-by-kurt Figure 44 | Schwitters, K. (1945-6) ‘Small Merz Picture of Many Parts.’

Assemblage, 35.9 x 29.2 cm. In: Elderfield, J. (1987). Kurt Schwitters.

New York, N.Y.: Thames and Hudson.

Figure 46 | Schwitters, K. (1947) ‘Portrait of Dr. Johnston’ In: Armitt Library (1912). Visit Cumbria [Online] [Accessed on 27th March 2018] https://www.visitcumbria.com/kurtschwitters/ Figure 47 | Schwitters, K. (1947) ‘Portrait of Harry Pierce’ In: Larner, C. (n.d.).

Harry Pierce, Cylinders: an Experiment.

[Archive] Figure 50 | ‘Kurt Schwitters and Wantee’ Photograph In: Larner, C. (n.d.).

Harry Pierce, Cylinders: an Experiment.

[Archive] Figure 51 | Schwitters, E. ‘The Merz Barn’ Photograph In: Larner, C. (n.d.).

Harry Pierce, Cylinders: an Experiment.

[Archive] Figure 52 | ‘The Merz Barn Interior’ Photograph In: Larner, C. (n.d.). Harry Pierce, Cylinders: an Experiment.

[Archive] Figure 53 | ‘The Relocation of Merz Barn Wall from Cylinders Estate, Lake District, England’ Photograph In: Larner, C. (n.d.). Harry Pierce, Cylinders: an Experiment. [Archive] Figure 54 | ‘The Merz Barn Wall in Restoration’ Photograph In: Larner, C. (n.d.). Harry Pierce, Cylinders: an Experiment. [Archive] Figure 55 | Hawkins, J. (2014) ‘The Merz Barn Replica at the Royal Academy of Arts, London’ Photograph In: RIBA (2014). Riba Presidents Medal

[Online] [Accessed on 27th March 2018] http://www.presidentsmedals.com/ Entry-14130 Figure 56 | 57 | Schwitters, K. (1947) ‘Letter to Ernst Schwitters’ In: Merz Barn (n.d.). Merz Barn Langdale [Online] [Accessed on 27th March 2018] https://merzbarnlangdale.wordpress. com/plans-drawings/

[Accessed on 15th March 2018] http://www.tate.org.uk/research/ publications/tate-papers/08/kurtschwitters-reconstructions-of-themerzbau

Figure 58 | Elderfield (1965) ‘Plan of the Elterwater Merzbarn,’ In: Elderfield, J. (1987). Kurt Schwitters. New York, N.Y.: Thames and Hudson.

Figure 61 | Schwitters, K. (1918) ‘Zeichnung A2. Hansi’ Collage, 18.1 x 14.6 cm In: Elderfield, J. (1987). Kurt Schwitters. p.XI New York, N.Y.: Thames and Hudson.

Figure 62 | Schwitters, K. (1919) ‘Merzbild Rossfett’ Assemblage, 20.4 x 17.4 cm. In: Elderfield, J. (1987). Kurt Schwitters. p.III New York, N.Y.: Thames and Hudson.

Figure 63 | Schwitters, K. (1919) ‘An Anne Blume’ In: Steegemann, P. (1919).

International Dada Archive [Online] [Accessed on 15th March 2018] http://sdrc.lib.uiowa.edu/dada/Anna_ Blume_Dichtungen/index.htm Figure 64 | Schwitters, K. (1920) ‘Hanover Merzbau Interior’ Photograph, In: Elderfield, J. (1987). Kurt Schwitters. p.III New York, N.Y.: Thames and Hudson.

Figure 65 | Elderfield, K. (1987) ‘Ground floor plan of Schwitters’ house at Waldhausen strasse 5, Hannover’ In: Elderfield, J. (1987). Kurt Schwitters. p.III New York, N.Y.: Thames and Hudson.

Figure 66 | Bissigger, 9. (1981-3) ‘Kurt Schwitters’ Merzbau’ In: Kurt Schwitters: Reconstructions of the Merzbau (2007). Tate [Online]

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