Christine Eckett examines the early Merz artworks of Kurt Schwitters against the backdrop of their creation. The context of the avant-garde at the beginning of the 20th century is particularly significant, especially the philosophy of Henri Bergson and the art debate of Sturm. Schwitters' interest in the Goethe period and early Romanticism also played a formative role in his work. As the inventor of Merz, the collage and assemblage artist Kurt Schwitters holds a unique position both then and now. His works consist of elements from visual arts, design, architecture, literature, theater, and music. Their intersection fundamentally establishes the idea of the Merz total artwork. While early research on Schwitters' works primarily focused on formal and material aesthetic aspects, the author emphasizes the connection between content and conceptual associations.