What was important was the regular contact with Ernst Schwitters.
He was able from memory to supply many details about yet unclear spatial
correspondences in the Merz Building; where colours were concerned, his help
was essential. I was moved by his enthusiasm and his faith in the success
of the project (‘a dream is coming true’) and that this work restored to
him, as he often asserted, the contact not just to an important object of
his youth, but above all to his father.
Peter Bissegger, 1988
b. 16 November 1918, d. 17 December 1996
Son of Kurt Schwitters
Photographer; also the author of unusual photograms in connection with Moholy-Nagy, Lissitzky, Ernst, et al..He made a name for himself as a reporter and art photographer during and after the Second World War, particularly in Norway and England.
Ernst Schwitters had a strong emotional bond with his father; after the
death of Kurt Schwitters he devoted his life to the care and propagation
of his father's work. Along with Prof. Schmalenbach and Gilbert Lloyd he
remained one of the most important connoisseurs of Kurt Schwitters.
Ernst Schwitters well knew the significance of Kurt Schwitters' sculptural work:
"... Thus almost the entire sculptural oeuvre of Kurt Schwitters disappeared. It must have amounted to about half his life's work, and he dedicated more time and effort to this than to all his other work. ..."