العودة

كورت شويتيرز & nbsp(1887-1948)

الفنان بيو الاستفسارحميل PDF
 
<div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div> <div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div>
Ohne Titel (Merzbild Mit Schuhsohle)194521 1/4 × 17 3/4 بوصة.(53.98 × 45.09 سم) تجميع زيتي ونقوش بارزة على خشب رقائقي
الاصل
إرنست شويترز إرنست شويترز، ليسيكر، من نسب الفنان عام 1948
مجموعة خاصة، تم الحصول عليها من خلال غاليري غمورزينسكا، كولونيا عام 1981
مزاد سوذبيز نيويورك، 11 مايو 1994، القطعة 40
مجموعة خاصة، واشنطن
مجموعة خاصة
معرض
ستوكهولم، Konstholm, Konstsalongen Samlaren Samlaren im Konstnärshuset؛ كوبنهاغن، متحف ستاتنس للفنون والفنون؛ كولونيا، متحف والراف-ريتشارتز ومتحف كولنيشر كونستفيرين وروتردام، متحف بويمانس-فان بيونينجن، كورت ميرز شويترز. Retrospektivt، 1962-1964، رقم 182 (في ستوكهولم)؛ رقم 255 (في كولونيا... اكثر...ن وروتردام)
كولونيا، غاليري غمورزينسكا، كولونيا، كورت شويترز 1978، رقم 97
باريس، القصر الكبير، فياك، غاليري غمورزينسكا، كورت شويترز 1980، رقم 54
(محتمل) كولونيا، ألمانيا، متحف شتات كولن، ويستكونست. Zeitgenössische Kunst seit 1939، 1981، رقم 113
كولونيا، ألمانيا، غاليري غمورزينسكا، كلاسيك مودرن، 1981، رقم 181
مدريد، إسبانيا، مؤسسة خوان مارش في مدريد، وبرشلونة، مؤسسة جوان ميرو، كورت شويترز، 1982-1983، رقم 175
فانكوفر، كولومبيا البريطانية، معرض فانكوفر للفنون، رؤية أوروبية، 1987
الادب
Marlis Grüterich, "Kurt Schwitters. Galerie Gmurzynska, Köln'، في Kunstforum International، المجلد 30، 1978 (مصور ص 220)
ريناتو مايستري، "ComMerzBankKurt-Schwitters. Una lezione rapsodica"، في Domus، المجلد 590، ميلانو، 1979 (مصور بالألوان ص 47)
يوسوكي ناكاهارا، "من منظر لا حياة فيه للتخريد"، في بيجوتسو تيشو، المجلد 31، طوكيو، أغسطس 1979 (مصور بالألوان)
غاليري غمورزينسكا، كورت شويترز 1980، رقم 54 (مصور بالألوان في الكتالوج)
هايدي بوركلين، "Kurt Schwitters: Vom Bürger zum Bürgerschreck"، في Art. Das Kunstmagazin, vol. 10, Hamburg, 1981 (مصور بالألوان ص 91)
غاليري غمورزينسكا، كلاسيك مودرن، 1981، رقم 181
إرنست نوندل، كورت شويترز في Selbstzeugnissen und Bilddokumenten، هامبورغ، 1981 (مصور ص 120)
Karin Orchard and Isabel Schulz, Kurt Schwitters, Catalogue raisonné, 1937-1948, vol. 3,
هانوفر، 2006، رقم 3136 (موضح ص 455)
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 اخترع كورت شويترز مصطلح "ميرز" في عام 1919، وهو مصطلح نشأ من تجزئة كلمة "كوميرز" في إحدى لوحاته الفنّية المجمّعة المبكرة. في فترة شهدت اضطرابات اجتماعية وسياسية وفنية كبيرة، اعتنق شويترز الحركات الحداثية مثل الدادا والتعبيرية والبنائية لكنه شق طريقه وطور ميرز كمنهج فني خاص به. هيمنت فكرة التحويل هذه، فكرة الارتقاء بالرفض إلى شيء ذي معنى، على مسيرته الفنية وظلت محورية في ممارسته الإبداعية حتى وفاته عام 1948. لم يكن ميرز مجرد تقنية، بل كان فلسفة لخلق الفن من مخلفات العالم اليومي، وإعطاء معنى جديد للأشياء بشكل مستقل عن وظيفتها الأصلية.





تم ابتكار لوحة "بدون عنوان، صورة ميرز مع نعل حذاء" في عام 1945 أثناء نفيه في إنجلترا بعد فراره من الاضطهاد النازي، وهي مثال مثير للذكريات على مؤلفاته اللاحقة. يضم العمل نعل حذاء كجزء من عمل تجميعي تتضمن طبوغرافيته عنصرين آخرين مرتفعين: خردة مزخرفة وجرم سماوي أبيض مستدير، مما يخلق تضاريس مرتفعة تضفي عمقًا ماديًا على القطعة. تضفي هذه العناصر المرتفعة على العمل صفة النحت، مما يطمس الخط الفاصل بين الرسم والنقش. وفي الوقت نفسه، فإن القوام متعدد الطبقات والألوان الصامتة من الألواح الصخرية والأزرق الرمادي والبني والمغرة تؤكد قدرة شويترز على استخلاص الجمال مما قد يتم تجاهله أو إهماله.





التجربة اليومية، التي يمثلها نعل الحذاء، تجد مكانها في مشهد تجريدي، تماماً كما سعى شويترز إلى خلق إحساس بالنظام من الأجزاء غير المنتظمة من العالم من حوله. تشير الألوان الصامتة والقوام الخشن للتجميع إلى كل من الندرة - التي تعكس محدودية المواد المتاحة خلال زمن الحرب - والمرونة، حيث واصل شويترز ممارسته الفنية في مواجهة الشدائد.





من خلال هذا التجميع، يؤكد شويترز من جديد إيمانه بالقوة التحويلية ل "ميرز": القدرة على تحويل المهمل إلى شيء جديد وذي معنى ودائم. "صورة بدون عنوان، صورة ميرز مع نعل حذاء" هي شهادة على رؤية شويترز الثابتة، حيث يمكن حتى لأكثر الأشياء العادية أن تصبح فناً، وترتقي بالمعنى الحرفي والمفاهيمي.
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