Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, Georg Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, and Hans Richter, among others.

Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters.

Aleksić used the term " Yugo-Dada " and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.

Kurt Schwitters developed what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920.

The focus is put on the classical modernist art with the collection of Kurt Schwitters, works of German expressionism, and French cubism, the cabinet of abstracts, the graphics and the department of photography and media.

Kurt Hermann Eduard Karl Julius Schwitters ( 20 June 1887 – 8 January 1948 ) was a German painter who was born in Hanover, Germany.

Kurt Schwitters was born on 20 June 1887, at No. 2 Rumannstraße, Hanover, the only child of Edward Schwitters and his wife Henriette ( née Beckemeyer ).

His grave was unmarked until 1966 when a stone was erected with the inscription Kurt Schwitters – Creator of Merz.

Before purchasing any work supposedly by Schwitters, it is best to consult the Kurt Schwitters Archive at the Sprengel Museum in Hannover, Germany.

The grave of Kurt Schwitters

Kurt Schwitters ' Merzbau: The Cathedral of Erotic Misery, Princeton Architectural Press 2000, ISBN 1-56898-136-8

* Cardinal, Roger and Gwendolen Webster, Kurt Schwitters, Hatje Cantz, Stuttgart, 2011.

The Triumph of Kurt Schwitters, Armitt Trust Ambleside, 2005.

Kurt Schwitters, Thames and Hudson, London 1985.

" Montage and Totality: Kurt Schwitters ’ relationship to tradition and avant-garde ", in Dafydd Jones ( ed.

* Hausmann, Raoul and Schwitters, Kurt ; ed.

* McBride, Patrizia C. " The Game Of Meaning: Collage, Montage, And Parody In Kurt Schwitters ' Merz.

" Montage And Violence In Weimar Culture: Kurt Schwitters ' Reassembled Individuals.

) Kurt Schwitters, poems, performance, pieces, proses, play poetics, Temple University Press, Philadelphia 1993.

The writer Theodor Fontane, painter Adolf von Menzel, and Dadaist Kurt Schwitters were all guests ; Karl Liebknecht, the Spartacus Communist movement leader read a lot here and even made some key political speeches from the pavement terrace, while author Erich Kästner wrote part of his 1929 bestseller for children, Emil und die Detektive ( Emil and the Detectives ), on the same terrace and made the café the setting for an important scene in the book.

* Kurt Schwitters –

Kurt Schwitters established his own solitary one-man Dada " group " in Hanover, where he filled two stories of a house ( the Merzbau ) with sculptures cobbled together with found objects and ephemera, each room dedicated to a notable artist friend of Schwitter's.

), Schwitters read his poems, Vilmos Huszàr demonstrated a mechanical dancing doll and Nelly Van Doesburg ( Theo's wife ), played avant-garde compositions on piano.

The LTM label has released a large number of Dada-related sound recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia and Nelly van Doesburg.

Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art.

The same year, Schwitters suffered his first epileptic seizure, a condition that would exempt him from military service in World War I until the last stages of the conflict, when conscription began to be applied to a far wider section of the population.

After studying art at the Dresden Academy alongside Otto Dix and George Grosz, ( although Schwitters seems to have been unaware of their work, or indeed of contemporary Dresden artists Die Brücke ), 1909 – 14, Schwitters returned to Hanover and started his artistic career as a post-impressionist.

Schwitters spent most of the war working as a technical draftsman in a factory just outside Hanover.

Schwitters was to come into contact with Herwarth Walden after exhibiting expressionist paintings at the Hanover Secession in February 1918.

Whilst Schwitters still created work in an expressionist style into 1919 ( and would continue to paint realist pictures up to his death in 1948 ), the first abstract collages, influenced in particular by recent works by Hans Arp, would appear in late 1918, which Schwitters dubbed Merz after a fragment of found text from the sentence Commerz Und Privatbank in his picture Das Merzbild, Winter 1918 – 19.

Schwitters asked to join Berlin Dada either in late 1918 or early 1919.

According to Raoul Hausmann, Richard Huelsenbeck rejected the application because of Schwitters ' links to Der Sturm and to Expressionism in general, which was seen by the Dadaists as hopelessly romantic and obsessed with aesthetics.

Most of the works attempt to make coherent aesthetic sense of the world around Schwitters, using fragments of found objects.

( En Morn, 1947, for instance, has a print of a blonde young girl included, prefiguring the early work of Eduardo Paolozzi, whilst many works seem to have directly influenced Robert Rauschenberg, who said after seeing an exhibition of Schwitters ' work at the Sidney Janis Gallery, 1959, that " I felt like he made it all just for me.

As the political climate in Germany became more liberal and stable, Schwitters ' work became less influenced by Cubism and Expressionism.

Schwitters published a periodical, also called Merz, between 1923 – 32, in which each issue was devoted to a central theme.

Merz 5, 1923, for instance, was a portfolio of prints by Hans Arp, Merz 8 / 9, 1924, was edited and typeset by El Lissitsky, Merz 14 / 15, 1925, was a typographical children's story entitled The Scarecrow by Schwitters, Kätte Steinitz and Theo Van Doesburg.

* Baier, Kurt, 1990, " Egoism " in A Companion to Ethics, Peter Singer ( ed.

* Beyond Eagle and Swastika: German nationalism since 1945 by Kurt P. Tauber ( Wesleyan University Press ; ed.

* Karl Mannheim, " On the Interpretation of Weltanschauung ", in, From Karl Mannheim, Kurt Wolf ( ed.

* Reisweber, Kurt ( 1995 ) Virginian Rails 1953-1993 ( 1st ed.

* Hemmer, Kurt ed.

* Kurt Aland and Barbara Aland, rev, ed.

* Schlueter, Kurt ( ed.

*„ Einige Eiffelturmlängen über allem übrigen !“ Erinnerungen an Kurt Hiller, in: Rüdiger Schütt ( ed.

* Kurt von Fischer, Gianluca D ' Agostino: " Francesco Landini ", Grove Music Online ed.

* Kurt Raaflaub, ed.

* von Fritz, Kurt, ed.

Singer, Kurt ( ed ).

In: Max Brod, Kurt Wolff ( ed.

" in Kurt Raaflaub ed.

* Reisweber, Kurt ( 1995 ) Virginian Rails 1953-1993 ( 1st ed.

* Reisweber, Kurt ( 1995 ) Virginian Rails 1953-1993 ( 1st ed.

* Reisweber, Kurt ( 1995 ) Virginian Rails 1953-1993 ( 1st ed.

* Uitdagingen voor de paus, in: Habemus Papam, het profiel van de volgende paus, Rik Torfs en Kurt Martens ( ed.

* Kurt Gödel, Collected Works ( ed.

* Kurt von Fischer, " Antonio Squarcialupi ", in The New Grove Dictionary of Music and Musicians, ed.

* Kurt von Fischer, " Antonio Squarcialupi ," The New Grove Dictionary of Music and Musicians, ed.

* Kurt von Fischer / Gianluca d ' Agostino, " Sources, MS, Italian Polyphony, 1325-1420 ", Grove Music Online ed.