Originally published in Herwarth Walden's Der Sturm magazine in August 1919, the poem made Schwitters famous almost overnight.

The same year, Schwitters also published Memoiren Anna Blumes in Bleie, a book that chronicled and parodied reactions to the original book.

In 1920 Schwitters published a second book in the same format, called Die Kathedrale ( The Cathedral ).

An Easy-to-Understand Method for Everyone of How To Learn Madness ) was published in 1922 with a markedly cleaner cover in a constructivist style, and this was followed by a series of periodicals, still called Merz, which continued to publish Schwitters ' work, within the context of the emerging International Modernism.

Elderfield had published studies of Henri Matisse, Kurt Schwitters, Richard Diebenkorn, Howard Hodgkin, and Pierre-Paul Prud ' hon.

Schwitters performed the piece regularly, developing and extending it, until finally publishing his notations for the recital in the last Merz periodical, 1932.

Alongside his collages, Schwitters also dramatically altered the interiors of a number of spaces throughout his life.

The design also inspired ITC Bauhaus and Architype Bayer, which bears comparison with the stylistically related typeface Architype Schwitters.

Peggy Guggenheim also held group exhibitions of sculpture and collage, with the participation of the now classic moderns Antoine Pevsner, Henry Moore, Henri Laurens, Alexander Calder, Raymond Duchamp-Villon, Constantin Brâncuşi, Jean Arp, Max Ernst, Pablo Picasso, George Braque and Kurt Schwitters.

Schwitters also wrote a less well-known sound poem consisting of the sound of the letter W. ( Albright, 2004 )

Around 1919, Janco had come to describe Constructivism as a needed transition from " negative " Dada, an idea also pioneered by his colleagues Kurt Schwitters and Theo van Doesburg, and finding an early expression in Janco's plaster relief Soleil jardin clair ( 1918 ).

An Anna Blume (" To Anna Flower " also translated as " To Eve Blossom ") is a poem written by the German artist Kurt Schwitters in 1919.

He also unveiled a monument to Kurt Schwitters on an island off Molde.

The exhibition showcased the work of early 20th century European artists such as Braque, Dubuffet, Marcel Duchamp, Picasso, and Kurt Schwitters alongside Americans Man Ray, Joseph Cornell, Robert Mallary and Robert Rauschenberg, and also included less well known American West Coast assemblage artists such as George Herms, Bruce Conner and Edward Kienholz.

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.

Later in the year Schwitters would publish the poem in an artist's book called Anna Blume, Dichtungen.

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.

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.

In his essay ' Ich und meine Ziele ' in Merz 21, Schwitters referred to the first column of his work as the Cathedral Of Erotic Misery.

She encouraged Schwitters to ' Merz ' this ephemera, the result of which was a sequence of proto-pop art pictures such as For Käte, 1947.

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

" The language of Merz now finds common acceptance and today there is scarcely an artist working with materials other than paint who does not refer to Schwitters in some way.

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

Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Schwitters ' Merz art objects, rather than more traditional craft based sculpture.

Since 1993, the Sprengel Museum has contained the Kurt Schwitters Archive, of which the Merz Room is particularly notable.

* Artist Kurt Schwitters creates the Merz 32 collage.

After a short period of internment on the Lofoten Islands, Schwitters fled to Scotland with his son on the icebreaker Fridtjof Nansen between 8 and 18 June 1940.

Van Doesburg became a friend of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where Van Doesburg promoted a leaflet about Dada ( entitled What is Dada?

This took place very gradually ; work started in about 1923, the first room was finished in 1933, and Schwitters subsequently extended the Merzbau to other areas of the house until he fled to Norway in early 1937.

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

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 composed and performed an early example of sound poetry, Ursonate ( 1922 – 32 ; a translation of the title is Original Sonata or Primeval Sonata ).

* Kurt Schwitters –

* Kurt Schwitters – painter

The works included Little French Girl ( 1914 – 18 ) by Brâncuşi, an untitled still life ( 1916 ) by Juan Gris, a bronze sculpture ( 1919 ) by Alexander Archipenko and three collages ( 1919 – 21 ) by German Hanoverian Dadaist Schwitters.

* Kurt Schwitters – voice

Kurt Schwitters ' Ursonate ( 1922 – 32, " Primal Sonata ") is a particularly well known early example:

* Kurt Schwitters – ( 1887 – 1948 )

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.

The poem was influenced by Raoul Hausmann's poem " fmsbw " which Schwitters ' heard recited by Hausmann in Prague, 1921.

The day of the speech, Schwitters mounts the podium and prepares to give the oration which is, by all accounts, quite good.

With regard to constructivism, Buchheister was typically more playful and improvisational than his contemporaries, becoming interested in the Dada movement after a collaboration with Kurt Schwitters in the late 1920s which led him to incorporate more varied materials such as acrylic glass, aluminum, wood, and twine into his compositions.