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Acrylic On CanvasWallArtDadaism
1925
44.0 x 36.0 cm
Museum of Modern ArtMet de hand geschilderd in olieverf op canvas in uw gewenste maat en lijst, op bestelling gemaakt door onze kunstenaars. (
Bestel print Koop afbeelding)
Kies uit onze vooraf ingestelde maten die overeenkomen met de originele verhoudingen van het kunstwerk.
U kunt uw eigen afmetingen invoeren om in een specifieke lijst of ruimte te passen. Als de door u gekozen maat niet overeenkomt met de verhoudingen van het originele beeld, zullen we het kunstwerk bijsnijden of het schilderij uitbreiden met extra handgeschilderde elementen. Een digitale mockup wordt ter goedkeuring naar u verzonden voordat de productie begint.
Houd er rekening mee dat de preview op het scherm niet de werkelijke uitsnede of uitbreiding weergeeft. Alleen de mockup toont de uiteindelijke compositie nauwkeurig.
Hoewel aangepaste afmetingen mogelijk zijn, raden we aan een maat uit de vooraf gedefinieerde lijst te selecteren om de originele verhoudingen te behouden.
Wereldwijde levering () binnen 3 tot 4 weken in plaats van de standaard 5 weken. (19 augustus). Zonder concessies aan de kwaliteit.
(Elikan)
Afmetingen reproductie
Kurt Schwitters’ “Elikan,” created in 1925, stands as a cornerstone of Dadaism and embodies the movement's radical rejection of traditional artistic conventions. More than just an assemblage of found objects—paper scraps, cardboard fragments, painted surfaces—it represents a profound exploration of chance, materiality, and the disintegration of established order amidst the turbulent aftermath of World War I.
Schwitters’ approach to art was fundamentally altered by the devastation wrought upon Europe. Disillusioned with academic formalism, he sought new methods of expression that mirrored the fractured reality surrounding him. Influenced heavily by Cubist collage techniques—specifically those pioneered by Pablo Picasso and Georges Braque—he adopted a strategy of constructing images from disparate elements, prioritizing spontaneity over meticulous planning.
The artwork itself is dominated by geometric forms: rectangles, squares, and triangles intersect and overlap, creating a dynamic visual landscape. Color plays an integral role, utilizing shades of blue, yellow, red, black, and white—a palette deliberately chosen to convey both emotional intensity and intellectual complexity. The textures vary considerably; some areas boast the rough surface of cardboard, while others display the smooth sheen of painted paper, highlighting Schwitters’ masterful manipulation of materials.
“Elikan,” like many of Schwitters’ Merz Pictures, eschews narrative storytelling in favor of a purely visual experience. Instead, it invites contemplation on concepts of fragmentation and reconstitution—themes central to Dada's critique of bourgeois values and its embrace of irrationality. The piece isn’t merely decorative; it’s a deliberate provocation, urging viewers to confront the instability inherent in modern existence.
Its impact extends beyond its formal qualities. Schwitters’ work anticipates later developments in installation art and conceptual art, demonstrating an unwavering commitment to exploring new possibilities for artistic expression. “Elikan” continues to resonate with audiences today as a testament to the enduring power of Dada's rebellious spirit—a celebration of imperfection and a refusal to accept dogma.
Schwitters’ fascination with the accidental nature of creation is palpable in every element of “Elikan.” The seemingly random arrangement of shapes and colors reflects his belief that art should emerge from unexpected encounters between disparate materials and ideas. This ethos aligns perfectly with Dada's manifesto, which proclaimed "Nothing is beautiful but what is accidental."
The photograph accompanying this description reveals subtle signs of wear—creases and slight discoloration—suggesting that it originates from an older source. However, this patina serves only to underscore the artwork’s historical significance and its enduring presence within the canon of modern art.
1887 - 1948
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