Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Man soll nicht asen mit Phrasen - Kurt Schwitters
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A 1930 Dada collage by Kurt Schwitters, featuring a complex arrangement of newspaper clippings, photographic portraits, and commercial ephemera.
Kurt Schwitters, a central figure in the Dada movement, produced this work in 1930. The title, which translates to 'One should not waste phrases', reflects his characteristic approach to language and visual communication. Schwitters utilised the Merz technique, a term he coined to describe his method of assembling discarded materials into new compositions. This piece incorporates a variety of ephemera, including newspaper clippings, fragments of commercial packaging, and photographic portraits.
The composition is constructed through the layering of these disparate elements. A central portrait of a man, likely a figure from the artist's social or professional circle, anchors the arrangement. Surrounding this are fragments of text, including references to Dr. Justus Bier, a prominent art historian and critic of the period. The inclusion of commercial branding, such as the 'OCOLAT' fragment, demonstrates the artist's interest in the visual debris of modern life.
Unlike traditional painting, this work relies on the juxtaposition of found objects to create meaning. The torn edges and overlapping papers reveal the physical process of construction. Schwitters treated these scraps as formal components, balancing the weight of the photographic images against the blocks of printed text and solid colour. The work functions as a visual record of its time, capturing the chaotic energy of the interwar period in Germany. By recontextualising everyday items, Schwitters questioned the boundaries between high art and the mundane. The resulting image is a dense, multi-layered construction that invites close inspection of its individual parts, while maintaining a cohesive, albeit fragmented, visual unity.
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Manufacturing
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.
Care and materials
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
Care & Cleaning
To keep your artwork looking its best:
- 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
- Handle prints with clean, dry hands
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
Complete The Look
Man soll nicht asen mit Phrasen - Kurt Schwitters
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Kurt Schwitters
Schwitters built an artwork inside his house in Hanover. Starting around 1923, the Merzbau grew outward from a column of collaged objects in his studio until there was barely room to live. He worked on it for sixteen years. Allied bombing destroyed it in 1943. He built a second Merzbau in Lysaker, Norway. The Nazis invaded; he abandoned it. It burned down in 1951. He started a third at Cylinders Farm in the English Lake District. He died in January 1948, leaving it unfinished.
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.
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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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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