According to Rudolf Jahns it must have had a door, but where this was is not known. Schwitters later extends the term grotto to include larger elements of the work such as the Blue Grotto. The strings must have been stretched between these two rows of nails [ The columns, 30 3. Another of his photos marked Barbarossagrotte Fig. The evidence, 69 7.
 
 

 

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Vor allem eine Plastik schien ihm am Herzen zu liegen, die mir, und gewiss auch anderen Betrachtern, unvergesslich blieb. Auf dem Balkon stand ein hohes, bizarres, turmartiges Gebilde. Both Pferdekamp and his wife Modeste the author of this piece were writers; Pferdekamp also published fiction under the pseudonym Arnold Nolden.

HW, also KSA 9, If Richter dated his visits correctly and , then on his return he would have seen the column in a different place.

This event is also briefly mentioned in another letter of January The background to the decision to move the studio to room 2 in is revealed by documents in Hannover city archive. In May , as a result of an acute housing shortage, an ex-military civil servant named Hermann Boetel and his family were allocated rooms on the ground floor of Waldhausenstrasse 5 that they occupied for the next four and a half years.

My parents are away and will remain so during July, and besides, they have had to give up three rooms at the back. By January Schwitters had moved his studio to room 2 Fig.

He made the pictures he wanted to sell or exhibit in this room. It had big windows without curtains and you could see [ Eduard was in his mid-sixties at this time. Kurt describes him as suffering from Nervenfieber [nervous fever], probably a form of typhus, that left him a semi- invalid for the rest of his life. Both Hohlt and Schwitters were members of the Hannover Secession. Mitte der zwanziger Jahre hat Schwitters seinen Merzbau begonnen [ Wenn man in das Zimmer hineingelangen wollte, musste man durch das sogenannte Wohnzimmer meines Onkels gehen.

Das lag mir nicht, denn hier konnte man all das finden, was er gesammelt hatte. Seine Bilder, die er verkaufen oder ausstellen wollte, hat er in diesem Zimmer gemacht. Mit war dieses Zimmer unheimlich, nicht, dass mir seine Bilder nicht gefielen, aber sein Atelier sah entsetzlich aus.

The remainder of the room, according to this undated memoir, was nearly empty: We entered the column itself through a narrow door, which was more like a grotto; a plaster construction was hanging over the door panelling [ So I went into the construction which, with all its bends, resembled a snail shell and a grotto at the same time.

The path by which you reached the middle was very narrow because new structures and assemblages, as well as existing grottos and Merz-reliefs, hung over from all sides into the still unoccupied parts of the room. Then there were grottos of various types and shapes, whose entrances were not always on the same level. If you walked all the way around, you finally reached the middle, where I found a place to sit, and sat down. Many of the grottos were covered up and my impression was more of a unified whole.

His account of the interior layout is also puzzling. The column has been encased entirely in plaster, but as he notes constructions hanging over the sides, has not reached the ceiling. Jahns could certainly have sat inside in its advanced stages, as by , the base measured 2 x 1 metres and the 47 Jahns Fig.

She recollected neither any Constructivist features nor any white structure spreading through the house, but only a column like an Expressionist grotto, coloured predominantly blue and green. See also Fig. See also Lufft Both were members of the Deutsche Werkbund.

This was most probably due to the exodus of artists and intellectuals from Germany in the wake of the economic and political crisis of , for there is no evidence that Schwitters was in any way secretive about it during this period; on the contrary, letters written by himself and his wife repeatedly allude for the first time to one or more columns.

As this correspondence was addressed to patrons, active supporters and gallery owners located outside Germany, it seems that after seven years of silence about his studio constructions, Schwitters was now looking for opportunities to publicize them abroad.

The middle-sized one is as good as finished. The activities of this burgeoning fascist organization, founded in , which included engineering the dismissal of progressive museum directors were bolstered after the NSDAP election victory in Thuringia, which enabled the state government to impose rigid cultural restrictions, and, for example, destroy murals by Schlemmer and Dix as examples of degenerate art. Die mittelgrosse ist so gut wie fertig. Dann schreibe ich an mehreren dramatischen Arbeiten.

In March , Dreier, also a collector and gallery owner, again visited Waldhausenstrasse 5. From this letter it also seems that she either knew of, or had drawn up, plans to transport the finished column to the USA for exhibition. Furthermore, its thematic correlation to the remainder of the essay, which focuses on abstract art, typography and recent political developments in Germany, is obscure.

Schwitters gives a detailed account of part of the column, but also compares it to a shy violet that may have to remain hidden. He dates its beginnings to and is evasive about the nature of the content, which is set out in grottos and relates to a wide range of themes: people, places, history and myth, animals, art, architecture, advertising and social taboos. Schwitters frequently amends or challenges his own statements on the KdeE through a qualifying or negatory phrase, again as if in two minds about how much to reveal to the public.

His description of the grottos is as Dadaistic as their content: Persil advertisements are juxtaposed with sex crimes, a lavatory attendant with a grotto of love, coke with Michelangelo. As these structures accumulate they give rise to further spaces that are absorbed into a structure of helical supports of wood, though the material is not specified ; these in turn provide the foundations for a geometrical exterior of painted plaster. Ten columns with dimensions comparable to those of the KdeE 2 x 1 x 3.

There is no indication of an initial Constructivist phase and no intimation that the work had ever constituted a Merz Demonstration Room. If by the Merzbau was at the advanced stage suggested by Schmalenbach, Elger and Elderfield, it is difficult to explain why at this point Schwitters, far from writing of a room, or rooms, full of constructions, should have limited his account to the KdeE, which Elderfield identified as situated left of the main studio window Fig.

On the evidence of the Veilchenheft and personal letters of this time, it seems that the extent of the Merzbau in the late s was far less than is commonly assumed. Szeemann , Osswald-Hoffmann , , also Fig. Also later when the two grottos had long disappeared in the interior. It might be speculated that Schwitters drafted this piece for the next issue of the Merz periodical announced at the end of the Veilchenheft Fig.

Whether this title pertained to developments in his studio is, however, unverifiable, as neither Merz 22 nor Merz 23 entitled e. For the first time he describes the column as Merz, explaining that he has reworked it so that it is now negative and non-functional without elucidating how the KdeE had been positive and functional till now. This is the second of only two written references by Schwitters to the KdeE. Whether the title was applied to the column from the beginning is not known. The only available evidence on the nomenclature comes from Ernst Schwitters, who stated that the terms KdeE and Merzbau were interchangeable, but there is no proof of this in contemporary writings or photos.

In Nasci, Constructivism is described as a development of Cubism; cf. LW 5, Thus a work of art is a stopping place on the road of becoming and not the fixed goal.

The appeal for contributions also indicates that Schwitters had begun to think of the column as a collective effort. He was also considering how to integrate the surrounding area, as he concludes by referring to an adjoining art exhibition that he conceives as a didactic space. Schulz a. This caption is questionable see Fig.

The Lysaker and Elterwater Merzbauten also contained pictures Figs. This may well be the period in which Ernst remembered his father spanning strings across the studio, rather than , when Ernst was only one year old. Here Ernst estimates the height as c. A larger, incomplete construction of unknown dimensions named the Column of Life stood in the same room.

As Helma does not mention a third column in the above letter, it is likely that this was either in its preliminary stages or had been incorporated into the horizontal extensions of the Column of Life. In mid, the author and composer Paul Bowles made a forty-mile detour especially to call on Schwitters.

Nearly forty years later, Bowles recalled this visit: Schwitters lived in a stolid bourgeois apartment house. The flat was relatively small and sombrely furnished. I slept on a small glassed-in porch off the dining room [ In the trolley-car returning from our outing, people eyed us with curiosity. Schwitters, his son and I each carried a basketful of refuse; we had bits of paper and rags, broken metal objects, even an ancient, stiff hospital bandage. It was all to be formed into parts of the Merzbau.

The Merzbau was a house within an apartment, a personal museum in which both the objects displayed and the exhibit rooms were inseparable parts of the same patiently constructed work of art. This is one of the few eyewitness reports of the Merzbau from the s, none of which documents the transitional stage between column s and environment. Whereas for early visitors, the 82 See note Bowles does not use the names Cathedral of Erotic Misery or Merzbau.

At some time between January and August there seems to have been a radical change in the development of the studio in that the columns were fused into an integrated room sculpture. The 85 Jahns Vordemberge is described as an Elementarist artist in De Stijl 7, , This article, which originally appeared in a Dutch journal Vordemberge-Gildewart , was later revised and translated into German Vordemberge-Gildewart It was rejected by a Munich art journal in see Hannover , See also letter to Giedion-Welcker, I, I, letter from Vordemberge- Gildewart to Giedion-Welcker, II, 30 ff.

Their interest extended to his prose and poetry, and it was through their good offices that part of his Ursonate was recorded for German radio in Helma Schwitters to Bodo Rasch, No explanation is given, though it can be assumed that if the name KdeE was still in use, it would have had to be jettisoned after the election victory of the NSDAP in January , as too indicative of the Weimar avant-garde.

Though the correspondence indicates that he moved his workplace to the adjoining room in early , he continued to refer to room 1 as his studio, and as the Merzbau spread, he applied the word to all successive stages of its development; Helma generally did the same. When it was bombed in , the Merzbau 94 [Da mein Mann noch immer an seinem Atelier zu tun hat, hat er mich gebeten, Ihnen zu antworten [ Two photos are included, both of details: one is of ceiling constructions, the other of a glazed grotto Fig.

As no windows are visible, this enhances the impression of an all-encircling structure. Even accounting for the fact that Schwitters was writing in a hostile political climate and for a publication very unlike his own Merz periodical, it seems that a considerable change in his concept of the studio had taken place between and 99 Letter to Edith Tschichold, erroneously dated 3. In a letter to Oliver Kaufmann of Renner was dismissed on Schwitters suffered from severe attacks from ; these decreased in middle age and ceased around In the glazed grottos are Merz compositions arranged as a cubic volume and which blend with the white cubic forms to form an interior.

Each part of the interior serves as an intermediary element to its neighbouring part. There are no details which constitute a unified and circumscribed composition. There are a large number of different forms which serve to mediate between the cube and indefinite form. Sometimes I have taken a form from nature, but more often I have constructed the form as the function of different lines, parallel or crossing.

In this way I have discovered the most important of my forms; the half-spiral. The essay lacks his customary ironic tone, and there is reference neither to socially or politically controversial material, nor to a column or columns, only an interior. Glazed grottos, visible in the photos, are selected by Schwitters for comment. These do not, however, correspond to the evidently unglazed grottos mentioned in previous texts, and there is no allusion to contributions by others.

All commercial and public activities had become impossible for him by late Although he was permitted to sell abstract pictures by the local branch of the Reichskulturkammer [Reich Chamber of Culture], of which he was perforce a member Fig.

While it is possible to document some of the changes to the main Merzbau room at this time, very little can be pieced together about its extensions, as they were never photographed and Schwitters furnished no known description of them.

By January , after the completion of the first room, Schwitters had started to create a sculptural interior in the adjoining room Fig. Perhaps Merz will someday manage to make the connection as far as Berlin. The Reichskulturkammer was inaugurated in November Brenner , 59, KSA 7, 49, also Wiesbaden a, and Lach , Vielleicht findet Merz noch einmal den Anschluss bis Berlin. II, Possibly official consent had been withdrawn by The discovery of the Freudenthal correspondence in therefore proved exceptionally useful in revealing new information about the original studio and its extensions.

The first extant letter, written in February , reveals that the main room had acquired a library Figs. There is my bookshelf, contents about 20 books, and things are glued and nailed to the walls around. I still work on this room and want to write there later. Leading up to it is a sort of winding staircase, which is very narrow. When we undertake the thorough spring-cleaning of my rooms, new things are always created.

I have just finished two grottos […] I glazed both grottos myself today. And slowly, very slowly, the work on the whole studio progresses. It may be noted that if Schwitters did not learn glazing techniques till and did not employ workmen till the s, it is unlikely that glazed grottos were elements of the early column s. Schwitters further discloses that flowers a vase of anemones on the windowsill were an acceptable addition and that mirrors some visible on the photos afforded unusual angles on the constructions and in winter enabled him to see the main road Fig.

A recently discovered letter of from Ernst to his father reveals that parts of the Merzbau were given names unknown till now. Da sitze ich gern, weil er hoch liegt und so still ist.

Bin ich oben, so bammelen meine Beine, das ist sicherlich gesund. Gerade heute habe ich 2 Grotten vollendet […] Ich selbst habe die beiden Grotten heute verglast. Ich bin stolz auf diese Leistung. Du wirst es ja bald sehen [ Vielleicht sitzt Du dann in der Bibliothek und arbeitest. A letter of March includes a sketch Fig. Dadurch wird er zum Raum. Du siehst, es ist hier kein direktes Licht. Whether the third room mentioned a few months earlier see footnote anticipates this conversion or refers to a non-contiguous area such as the attic is not clear.

That comes from the spring-cleaning of the studio. If you knew what that involved. Just a white floor is a lifelong task. Every day including Saturday I work on it with a painter, glazier and joiner, and alone. Today we worked from 8 a. Kurt has installed 19 switches. You can work out the effects of the number of lighting variations. According to the Sprengel Museum, a vacuum cleaner a luxury article in the s is regularly used to clean the Merzbau reconstruction.

The bulbs often need replacing and objects left by visitors such as sweet papers are frequently removed from niches. The paint is touched up every few years. Sonnabend und Alltag arbeite ich, mit Maler, Glaser und Tischler, und allein. Heute haben wir von 8 — 20 gearbeitet, und das ist in Deutschland eine grosse Ausnahme, da am Karfreitag nur getrauert wird.

Nun arbeite ich noch 4 Tage, dann mache ich Ferien, solange Du da bist. Easter Sunday and Monday are also important festivals of the Lutheran calendar. Schwitters was christened as a Lutheran on Kurt hat da 19 Knipser eingebaut. Du kannst dir da die Zahl der Lichtwirkungen ausrechnen.

Besonders die kleinen Grotten wirken dann phantastisch. Ernst Schwitters stated that the room contained fifty-three lights in all. According to an article based on his diaries, Barr was shadowed by the authorities but succeeded in meeting Alexander Dorner and arriving, unannounced, at Waldhausenstrasse 5 to inspect the Merzbau. Schwitters was away, otherwise Barr might have been able to give a more comprehensive report of his visit.

He was shown around by Ernst Schwitters and, according this retrospective account by his wife Margaret in , was overwhelmed by what he saw: Passing the cold, tiled kitchen [ It is like a cave; the stalactites and stalagmites of wood, junk and stray rubbish picked from the streets are joined together to fill the whole room from floor to ceiling and walls to walls [ The effect is mesmerizing.

A label on a grotto made in Fig. When the light outside shines through the willow branches, then I can observe what I build into the grottos in the studio. Maids were resident in Waldhausenstrasse 5 till , but Ernst recollected that in the mid- s, his father converted two adjacent attic rooms to one, removing a connecting wall to create a further Merzbau area resembling the main room.

It came into being shortly before the room under the balcony. Er entstand kurz vor dem Raum unter dem Balkon. As note Schwitters later wrote of constructions in a front attic room [Ich hatte auch auf dem Boden vorn einen Raum gestaltet.

For the story of two attic rooms converted to one, see Schmalenbach a, Elderfield states that the room had sloping walls and floor measurements of c. For a discussion of the platform, see Osswald-Hoffman , Ernst Schwitters also stated that most of the constructions were painted white; as note After an underground cistern, two metres in diameter, was unearthed in this space, Schwitters constructed an arrow sculpture pointing downwards, which the water surface reflected as pointing upwards.

In , the threats were more overt: The period of bolshevist besotted art is now ended. Therefore National Socialist art can no longer tolerate any aspects of that decadent world that lies behind us.

Since we are determined to apply [ Jetzt wird er gestaltet. Bis zum Grundwasser bin ich vorgedrungen. The incorporation of the cistern may have been planned in ; cf.

Just as we freed our people in the political sphere, in the sphere of culture [we] will also increasingly eliminate those who, whether intentionally or through lack of ability, assisted, or even merely intended to assist, in creating the cultural conditions for political disintegration.

According to Vordemberge-Gildewart, he experienced considerable difficulties in the mids because of rumours that he regularly spat at a bust of Hitler in his studio, and many other anecdotes tell of his public demonstrations of contempt for the Nazis.

Most of his letters were addressed to friends in the USA, and all the replies were in the negative. In a letter to Josef Albers, he disclosed that: In Germany it is a possibility that my most recent work will be entirely destroyed through a disastrous development that may well be in the offing.

About 40 answers arrived — not one of them told me what to do. The world is hard. I need a refuge for my construction somewhere in the world. Perhaps it really is difficult in Switzerland. While Schwitters does not directly connect this new phase with political circumstance, he does mention it directly after describing his personal dilemma, that is, his voluntary yet reluctant subjection to a state of inner emigration.

He gives Dreier to understand that on her previous visit in , the appearance of the studio had been quite different. These are of an expressly sculptural nature, which he explains by describing the diversity of white forms that now fill whole rooms: I can work at home, and continue to construct incredible sculptures, in six rooms, partly underground.

But I am utterly miserable about the lack of contact. In Germany my art is only shown in the Entartete Kunst exhibition. Etwa 40 Antworten sind gekommen, davon sagt mir nicht eine, was ich tun kann. Die Welt ist hart. In der Schweiz ist es vielleicht doch schwierig. For more on the failure of plans for a Basle Merzbau, see Schaub , My work lives in voluntary exile from which it cannot liberate itself.

You do not know the new developments in my art. I have most especially become a sculptor, create columns and rooms, white, smooth, imaginative in the sheer variety of forms and at the same time simple. I would like to build such columns in America, or better a room. However, a column takes 6 weeks to make, a room 6 months, then I need materials, about marks a cubic metre, and finally I need workmen to help.

Who would do so much for art [ I would like to appear under the pseudonym Robert Lee [ These letters of late were all carefully adapted to their recipients. You can imagine that I fear some fanatic will destroy my rooms. But the few little Merz pictures would represent me wrongly. I would like to design a room in a cubist abstract fashion, or at least build a column, that is, best of all in America.

Aber ich bin tottraurig, dass mir der Kontakt fehlt. Mein Werk lebt in freiwilliger Verbannung, aus der sie sich nicht befreien kann. Sie [kennen] die neue Entwicklung meiner Kunst nicht. Ich bin ohne grosses Honorar mit einem Taschengeld zufrieden […]. See also note His fears are echoed in a letter to Edith Tschichold of I am building an abstract cubist sculpture into which people can go.

From the directions and movements of the constructed surfaces, there emanate imaginary planes which act as directions and movements in space and which intersect each other in empty space. The suggestive impact of the sculpture is based on the fact that people themselves cross these imaginary planes as they go into the sculpture.

It is the dynamic of the impact that is especially important to me. I am building a composition without boundaries; each individual part is at the same time a frame for the neighbouring parts, all parts are mutually interdependent. This estimate differs slightly from that sent to Barr; see letter of Query of On I am grateful to Ines Katenhusen for this information.

Believe me, I regret very much that we can do nothing. I am delighted to have the photographs of your room taken by your son [ Helma Schwitters remained in Hannover to care for elderly relations and administer the family properties.

One of the most pressing was addressed to Carola Giedion-Welcker, who decided to publish a monograph on him in Although as Letter of As far as is known, after it remained inaccessible until its destruction five years later. Once more, he implored friends in Europe and America to give him a chance to start a new Merzbau in a less vulnerable location. Blocked up. One of the most severe came on the night of 8 October , when an Allied bombing raid obliterated the city centre and part of the outskirts of Hannover Fig.

Among the buildings destroyed was Waldhausenstrasse 5. He first heard of the destruction of the Merzbau from the Swiss collector Marguerite Hagenbach. As the pictures were not destroyed, they may have been figurative rather than abstract works. For me the creation of a work is the most important thing [ And I go on living.

My sonate in sounds exists only in my voice and shall die with me. For what did I actually live? I fight for it in desperation, as an animal for its child. And it was highly regarded in the opinion of [those] abroad as a new domain of art. I really know the details of the work very exactly, but of that which is to be seen, nothing remains of what used to be there. The bomb went through the roof precisely over the Merzbau […] It will be very painful for Kurt.

Ich hab mir die Sache jetzt mal von der Waldseite aus betrachtet. Ich kenne die Einzelheiten der Arbeit ja sehr genau, aber von dem, was dort zu sehen ist, erinnert nichts mehr an das, was vorher war. Kaufmann agreed; the grant brokered by MoMA eventually went towards the Merz barn. Und es galt sehr viel in der Meinung des Auslandes als neues Gebiet in der Kunst. In November he had written to Katherine Dreier of six rooms whereby it is unclear if these included the original studio. Early accounts and photos indicate that there may at one time have been columns in the basement, and two visitors in the mids later wrote of the Merzbau as extending to the cellar Osten , Vordemberge-Gildewart This was, however, vehemently denied by Ernst Schwitters in Now to the Merzbau and the two rooms in the cellar; unfortunately, that is wrong.

Sweeney hoped for a photo documentation of the ruins and restoration of the Hannover Merzbau. See also letter to Raoul Hausmann, 2. In the basement [ Schwitters may have been thinking of the tiny room abutting the parlour, his bedroom till , which apparently had collaged walls, or alternatively, the stairwell leading up to the third floor landing, which Hans Freudenthal remembered as lined with constructions.

Irgendwo ist da einfach ein Fehler. Spengemann indicates there may have been cellar rooms: see letter of 1. The visual evidence The visual material relating to the Hannover Merzbau may be divided into three groups: 1 photos of early sculptural assemblages that, according to Ernst Schwitters, formed part of the core structure Figs. Of poor quality, it appeared in in the journal G, bearing the caption Studio, and in in the Lissitzky- Arp publication The —Isms of Art both part of a network of broadly Constructivist publications.

Jahns Accompanying the photo in G is an essay by Schwitters on poetry: cf. Elderfield considers that this photo was taken in room 1 Fig. Elger , Elderfield , Osswald-Hoffmann It is nonetheless difficult to believe that these two photos were taken in the same room.

It may be relevant here that the first photo was used to represent Merz in two little-known avant-garde publications, while the second was published in a high circulation daily paper.

A second, later column Fig. The photo was not Elderfield , A description of the studio c. It is generally dated to , and is often supposed to have formed the whole or a major part of the nucleus of the Hannover Merzbau Elger , Elderfield , Dietrich , Gamard , Osswald-Hoffmann et al. In the first Merzbau room, it stood in a prominent position immediately to the right of the entrance Fig.

It is likely to have been incorporated into the studio after the move of , and possibly provided the core of the Column of Life mentioned by Helma Schwitters in Both closely resemble the state of the column in Fig. The evidence for this is, however, tenuous. Another of his photos marked Barbarossagrotte Fig. An exhibition catalogue of New York labels both photos ; from this it may be assumed that Schwitters attributed the original column to but that the photos show its aspect in I would therefore suggest that the first photos of the column date from , a year after Schwitters moved his studio to Room 2.

A possible exception is Fig. These snapshots Figs. They show part of a large sculptural assemblage, some features of which correspond to the account of the KdeE in the Veilchenheft, but with no evidence of a division into box-like grottos. As with the photos, nothing indicates that the Merzbau had reached the stage of curvilinear forms suggested by Richter and Elderfield. The guinea pig was placed there as a joke, as animals were not allowed to run around this room, though Steinitz stated that a Moholy-Schwitters grotto named the White Palace was constructed expressly to house guinea pigs.

Ernst Schwitters described this as a movable element, about three metres high. It must have weighed around kg. The edge of the casing is shown in Fig. If so, this had changed considerably by , when numerous external grottos are visible, some very large Figs. The Merzbau reconstruction shows that the KdeE is very awkward to capture with a camera, and then as now it remains the least photographed section.

In early , Wilhelm Redemann, the official photographer of the Hannover Provinzial- museum, took three wide-angle shots of the main Merzbau room Figs. Sie muss wohl an die kg. Ferdinand Stuttmann made the unlikely claim that these photos were taken after Schwitters left Hannover; Stuttmann The main window is hidden from view, as is most of the KdeE apart from its far edge and a table with the guest book in front Fig.

There is little to connect these photos with the description in the Veilchenheft, and the grottos which feature so prominently in that description remain invisible. Instead, the photos show a number of external grottos enclosed in glass. The importance that Schwitters attributed to these may be judged by the fact that a close-up of the two largest was one of the first pictures of the Merzbau to be published Fig.

A number of close-ups of the studio structures, which the CR dates to about , also show the studio as sculptural environment. Whereas the photos of the s focus on the content of the Merzbau, those of the s the majority by Ernst Schwitters , concentrate on capturing various aspects of the constructions from unusual angles and under different lighting conditions, giving prominence to dramatic effects of light and shadow.

Many focus on upper sections of the Merzbau, but not one includes the floor or the main window, which took up a large part of one wall Fig. Others reveal accessible areas behind the constructions; one remarkable shot shows a photographer apparently photo- graphing the photographer, who is hidden within Fig. Six photos of the Merzbau were on show in the exhibition Fig. Most commentators prefer to base their interpretations on a small body of written material — two paragraphs from the Veilchenheft of and a standard assortment of memoirs – to the exclusion of other sources.

Judging by the size of other content dating from this time Figs. She also compares the staircase of the Great Grotto of Love Fig. In the s, Schwitters continued to make his mark on places he visited by building further columns. I worked on a column there. The reconstruction The three-dimensional reconstruction of the first Merzbau room was commissioned by Harald Szeemann for the exhibition Der Hang zum Gesamtkunstwerk in Zurich in It is now on permanent display in the Sprengel Museum, Hannover Figs.

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