The And-Picture - Kurt Schwitters
Archival giclée
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Description
A seminal Dadaist assemblage by Kurt Schwitters, featuring a composition of found objects, paper, and industrial ephemera.
The And-Picture, or Das Undbild, is a primary example of the Merz aesthetic developed by Kurt Schwitters in post-war Hanover. Schwitters utilised discarded materials, including fragments of printed ephemera, wood, and metal, to construct a composition that rejects traditional painterly techniques. The title originates from the prominent inclusion of the German word 'und' (and), which was clipped from a larger advertisement. By isolating this conjunction, Schwitters draws attention to the linguistic and visual potential of everyday refuse.
The composition is organised through a series of geometric planes that intersect across the surface. Schwitters integrates these disparate elements, such as a horseshoe, ticket stubs, and industrial scraps, into a cohesive structure. The work functions as a rejection of the bourgeois art object, instead proposing that meaning can be derived from the detritus of modern urban life. The colour palette is largely dictated by the original state of the found materials, featuring muted ochres, weathered blues, and stark blacks.
This piece reflects the broader Dadaist impulse to dismantle established artistic hierarchies. Rather than creating a representation of a subject, Schwitters constructs a reality from the remnants of the world. The physical depth of the assemblage, created by the layering of paper and the attachment of three-dimensional objects, forces the viewer to engage with the work as a physical entity. It remains a significant study in the use of non-art materials to create a formal, balanced composition. The work is currently held in the collection of the Staatsgalerie Stuttgart, where it continues to provide insight into the early twentieth-century avant-garde movement.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The And-Picture - Kurt Schwitters
Artist Biography
Kurt Schwitters
He was born in Hanover in 1887, an only child whose father ran a ladies' clothing shop. He suffered from epilepsy throughout his life. He fled to Norway in 1937, then to Scotland in 1940, where he was classified as an enemy alien and interned in camps including Hutchinson Camp on the Isle of Man. While interned, he allegedly made small sculptures from leftover oatmeal.
His art, which he called Merz (a fragment of the word Kommerz), used collage, found objects, poetry, sound art, typography, and installation. He worked across Dadaism, Constructivism, and Surrealism, often simultaneously. He was largely neglected by the time he died.
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