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Kurt Schwitters Merzbau: The Cathedral of Erotic Misery (Building Studies)
 
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Kurt Schwitters Merzbau: The Cathedral of Erotic Misery (Building Studies) [Englisch] [Taschenbuch]

Elizabeth Burns Gamard

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From Library Journal

This graduate-level discourse on Kurt Schwitters (1887$1948) suggests that there is a hermeneutic content to the artist!s works. Highly regarded author Gamard (architecture, Tulane Univ.), who deploys a moderately academic writing style, believes that Schwitters!s best work was his famous construction in Hannover of the house-sized Merzbau, begun in 1923 and destroyed in 1943. The KdeE (as the Merzbau was also called) was an environment that grew out of Schwitters!s studio in his family!s apartment and adopted utopian and alchemistic themes. Over the years, Schwitters endlessly transformed the space into a cathedral-like series of grottoes, collages, and sections named Cave of the Sex, Lust Murderers, and Cave of the Deprecated Heroes, among others. The book contains 50 black-and-white illustrations, but they do not support Gamard!s argument regarding the superiority of the KdeE. Suited to Schwitters specialists and the sophisticated follower of modern European art, this challenging work is for specialized academic or large public collections."Mary Hamel-Schwulst, Towson Univ., MD
Copyright 2000 Reed Business Information, Inc.

Kurzbeschreibung

German artist Kurt Schwitters began constructing the Merzbau, a combination of collage, sculpture, and architecture, in a corner of his studio in Hannover, Germany in 1920. Also called the Cathedral of Erotic Misery, this was Schwitters's private world. It eventually took over his entire living quarters, the apartment above, and part of the yard, and was divided into rooms-the Biedermeier Room, the de Stijl Room, the Goethe Cave, the Mondrian Cave, and the Mies Cave, among others. It was destroyed during an Allied bombing raid in 1943.
Although the Merzbau is of essential importance in understanding the early Modern Movement, this is the first in-depth study in English of this structure. Elizabeth Burns Gamard discusses its physical evolution and its significance within the artist's oeuvre. She also investigates its larger relation to German Expressionism and romanticism and to critical thought of the time. This book offers an in-depth analysis of a single structure through original documents, drawings, and critical examination of the design process.

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11 von 17 Kunden fanden die folgende Rezension hilfreich
Too many inaccuracies 5. Juli 2004
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This study of Kurt Schwitters's Merzbau is very disappointing, particularly coming from a Professor of Architecture, as the largely unexplored architectural aspects of the Merzbau have in general been ignored. The first part of the book is interesting insofar as it provides an introduction to the post-modernist aspects of Schwitters's work, but when it comes to more detail about Schwitters and the Merzbau, there are far too many inaccuracies. For instance, Professor Gamard is unsure about the exact location of the main sections of the Merzbau (placing it both on the ground and second floor of Schwitters' home) and is vague on Weimar history, stating that Weimar was the capital of the Weimar Republic. In all, there is far too much in this book which is plain theorising and which has no substantial factual basis.
3 von 5 Kunden fanden die folgende Rezension hilfreich
I wish this were better 11. Februar 2010
Von art prof - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Von Amazon bestätigter Kauf
I had high hopes for this book, and what I think it's trying to do is admirable, ranging and probing. I had wanted to use a chapter from it for a college course. But upon close reading, I became more and more disappointed with the writing, and convinced that I couldn't put this in front of students. There are key ideas - exciting insights into Schwitters' total program, and difficulty of elucidating his particular mysticism - woven together in prose that's alternately clear and convoluted. It's not simply that it's "scholarly" - that doesn't put me off - but that it sets out to elucidate a difficult subject, one that needs attention, and still doesn't seem quite clear to itself. Maybe this impression is encouraged by the many editing mistakes in this book - it cries out for a copy editor ( - words are missing, phrases transposed, spelling, etc.). Again, I admire the effort - can we send it back for a re-write? I really want this book to succeed.

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