柯特·希维特斯全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-22
 图片 | - |
 默兹皮尔斯31 | - |
| （难） | - |
| 默兹图25A：明星图 | - |
| 空间的形式 | - |
| 水彩画1 . (心脏从糖变成咖啡) | - |
| 格言 | The apparently random collection of papers in Aphorism come together to create a tiny but carefully balanced composition. The subtle tones of the pieces of buff paper are accented by insertions of strong colour. The layers are piled high in the top left corner, while in the lower corner the blue, green and white patterned paper seems to form a human profile. The alignment of the profile's mouth with the dotted line across the centre of the collage is perhaps suggestive of Schwitters' poetic recitations. |
| 高远 | Schwitters was an avid collector of all manner of objects throughout his life. These were integrated into paintings and relief sculptures. In the 1920s he created in his Hanover house a sculptural environment which he called a 'Merzbau'. It was destroyed by Allied bombing during the Second World War. He arrived in England in 19.. maleable materials, such as plaster, odds and ends glues together and found objects such as stones, which were painted. |
| 母亲和鸡蛋 | - |
| 为了凯特 | - |
| 鸡肉和鸡蛋 | - |
| 安东尼·阿莱格里的神圣之夜,被称为科雷乔...... | - |
| 救济 | Initially associated with the irreverent Dada movement in 1920s Germany, Schwitters developed an interest in collage and the complex visual inventions this technique made possible. He coined the term MERZ to describe his highly idiosyncratic approach to making art. Schwitters stayed true to these principles even when he left Germany after the rise of National Socialism and emigrated to Britain. He often took months over his constructions, painstakingly searching for the appropriate elements. In wartime Barnes, where glossy magazines for his collages |
| 希特勒帮 | - |
| 沉重的救济 | - |
| 彩虹图 | - |
| 默兹比尔德·阿尔夫 | - |
| 无题 | - |
| （皮诺·安东尼） | - |
| 春天的门 | - |
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