柯特·希維特斯全部影視作品
首發(fā)于 qinglite.cn，統(tǒng)計(jì)截止日：2026-01-23
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 默茲皮爾斯31 | - |
| （難） | - |
| 默茲圖25A：明星圖 | - |
| 空間的形式 | - |
| 水彩畫1 . (心臟從糖變成咖啡) | - |
| 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. |
| 高遠(yuǎn) | 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. |
| 母親和雞蛋 | - |
| 為了凱特 | - |
| 雞肉和雞蛋 | - |
| 安東尼·阿萊格里的神圣之夜,被稱為科雷喬...... | - |
| 救濟(jì) | 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 |
| 希特勒幫 | - |
| 沉重的救濟(jì) | - |
| 彩虹圖 | - |
| 默茲比爾德·阿爾夫 | - |
| 無題 | - |
| （皮諾·安東尼） | - |
| 春天的門 | - |
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