Max Ernst Robing of the Bride Fine Art Print

Max Ernst (2 April 1891 – i April 1976) was a German language (naturalised American in 1948 and French in 1958) painter, sculptor, graphic creative person, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism. He had no formal artistic training, just his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of objects as a source of images— and 'grattage', an coordinating technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He is too noted for his novels consisting of collages.

Contents

• 1 Biography
  • i.i Early life
  • one.2 Dada and surrealism
  • ane.iii Globe War II and later life
• 2 Selected works
  • 2.ane Paintings
    • 2.one.i Early works
    • 2.1.two Kickoff French period
    • 2.1.3 American flow
    • ii.1.4 2nd French period
  • 2.ii Collages, lithographs, drawings, illustrations, etc.
  • 2.iii Sculpture
• iii Ernst in modern culture
• 4 Legacy
• v Run into as well
• six Notes
• vii References
• 8 External links

Biography [edit]

Early life [edit]

Max Ernst was born in Brühl, most Cologne, the third of nine children of a middle-class Catholic family unit. His male parent Philipp was a teacher of the deaf and an apprentice painter, a devout Christian and a strict authoritarian. He inspired in Max a penchant for defying authority, while his interest in painting and sketching in nature influenced Max to accept up painting.^[1] In 1909 Ernst enrolled in the University of Bonn to read philosophy, art history, literature, psychology and psychiatry. He visited asylums and became fascinated with the fine art work of the mentally ill patients; he also started painting that year, producing sketches in the garden of the Brühl castle, and portraits of his sister and himself. In 1911 Ernst befriended August Macke and joined hisDice Rheinischen Expressionisten group of artists, deciding to become an artist.

In 1912 he visited the Sonderbund exhibition in Cologne, where works by Pablo Picasso and mail service-Impressionists such equally Vincent van Gogh and Paul Gauguin profoundly influenced him. His work was exhibited that year together with that of the Das Junge Rheinland group, at Galerie Feldman in Cologne, and then in several group exhibitions in 1913.^[1] In his paintings of this catamenia, Ernst adopted an ironic fashion that juxtaposed grotesque elements alongside Cubist and Expressionistmotifs.^[two]

In 1914 Ernst met Hans Arp in Cologne. The ii became friends and their relationship lasted for fifty years. After Ernst completed his studies in the summertime, his life was interrupted by Earth War I. Ernst was drafted and served both on the Western Front and the Eastern Fronts. The event of the war on Ernst was devastating; in his autobiography, he wrote of his time in the army thus: "On the first of August 1914 M[ax].E[rnst]. died. He was resurrected on the eleventh of November 1918".^[iii] For a cursory menses on the Western Forepart, Ernst was assigned to chart maps, which allowed him to continue painting.^[1] Several German Expressionist painters died in action during the war, among them Baronial Macke and Franz Marc.

Dada and surrealism [edit]

In 1918, Ernst was demobilised and returned to Cologne. He shortly married art history educatee Luise Straus, whom he had met in 1914. In 1919, Ernst visited Paul Klee in Munich and studied paintings by Giorgio de Chirico. The same year, inspired by de Chirico and mail-order catalogues, teaching-aide manuals and similar sources, he produced his first collages (notablyFiat modes, a portfolio of lithographs), a technique which would dominate his artistic pursuits. Likewise in 1919 Ernst, social activist Johannes Theodor Baargeld and several colleagues founded the Cologne Dada group. In 1919–20 Ernst and Baargeld published diverse brusk-lived magazines such asDer Strom,die Schammade and organised Dada exhibitions.^[1]

Ernst and Luise'south son Ulrich 'Jimmy' Ernst was born on 24 June 1920; he besides became a painter.^[1] Ernst'south marriage to Luise was short-lived. In 1921 he met Paul Éluard, who became a lifelong friend. Éluard bought two of Ernst'due south paintings (Celebes andOedipus Rex) and selected six collages to illustrate his poetry collectionRépétitions. A year afterward the 2 collaborated onLes malheurs des immortels then with André Breton, whom Ernst met in 1921, on the magazineLittérature. In 1922, unable to secure the necessary papers, Ernst entered French republic illegally and settled into a ménage à trois with Éluard and his wife Gala in Paris suburb Saint-Brice, leaving behind his wife and son.^[i]During his first 2 years in Paris, Ernst took various odd jobs to make a living and continued to paint. In 1923 the Éluards moved to a new abode in Eaubonne, almost Paris, where Ernst painted numerous murals. The aforementioned year his works were exhibited atSalon des Indépendants.^[i]

Although plain accepting the ménage à trois, Éluard eventually became more concerned about the affair. In 1924 he abruptly left, first for Monaco and and so for Saigon.^[4] He soon asked his wife and Max Ernst to bring together him; both had to sell paintings to finance the trip. Ernst went to Düsseldorf and sold a big number of his works to a long-time friend, Johanna Ey, possessor of galleryDas Junge Rheinland.^[1] Afterwards a brief time together in Saigon, the trio decided that Gala would remain with Paul. The Éluards returned to Eaubonne in early September, while Ernst followed them some months later, later exploring more of South-Eastward Asia. He returned to Paris in tardily 1924 and soon signed a contract with Jacques Viot that allowed him to pigment full-time. In 1925 Ernst established a studio at 22, rue Tourlaque.^[1]

In 1925, Ernst invented a graphic art technique chosen frottage (see Surrealist techniques), which uses pencil rubbings of objects equally a source of images.^[five] He also created the 'grattage' technique, in which paint is scraped beyond canvas to reveal the imprints of the objects placed beneath. He used this technique in his famous paintingWoods and Pigeon (as shown at the Tate Modern). The next year he collaborated with Joan Miró on designs for Sergei Diaghilev. With Miró's help, Ernst developed grattage, in which he trowelled pigment from his canvases. He likewise explored with the technique of decalcomania, which involves pressing paint betwixt 2 surfaces.^[six]

Ernst developed a fascination with birds that was prevalent in his work. His alter ego in paintings, which he called Loplop, was a bird. He suggested that this change-ego was an extension of himself stemming from an early confusion of birds and humans.^[vii] He said that one night when he was young, he woke upwards and found that his beloved bird had died; a few minutes later, his father announced that his sister was born. Loplop often appeared in collages of other artists' work, such equallyLoplop presents André Breton. Ernst drew a great deal of controversy with his 1926 paintingThe Virgin Chastises the infant Jesus before Three Witnesses: André Breton, Paul Éluard, and the Painter.^[eight] In 1927, Ernst married Marie-Berthe Aurenche [de] and it is idea his relationship with her may take inspired the erotic subject field matter ofThe Kiss and other works of that year.^[9] Ernst appeared in the 1930 motion pictureFifty'Âge d'Or, directed past the Surrealist Luis Buñuel. Ernst began to sculpt in 1934 and spent time with Alberto Giacometti. In 1938, the American heiress and artistic patron Peggy Guggenheim acquired a number of Max Ernst'south works, which she displayed in her new gallery in London. Ernst and Peggy Guggenheim were married from 1942 to 1946.

World War II and later life [edit]

In September 1939, the outbreak of World War II acquired Ernst to be interned every bit an "undesirable foreigner" in Camp des Milles, near Aix-en-Provence, forth with young man surrealist, Hans Bellmer, who had recently emigrated to Paris. He had been living with his lover and boyfriend surrealist painter, Leonora Carrington who, not knowing whether he would return, saw no option only to sell their house to repay their debts and leave for Espana. Thanks to the intercession of Paul Éluard and other friends, including the journalist Varian Fry, he was released a few weeks later on. Presently after the High german occupation of France, he was arrested once again, this time past the Gestapo but managed to escape and flee to America with the help of Peggy Guggenheim and Fry.^[ten] Ernst and Peggy Guggenheim arrived in the Usa in 1941 and were married at the end of the year.^[xi] Along with other artists and friends (Marcel Duchamp and Marc Chagall) who had fled from the state of war and lived in New York Metropolis, Ernst helped inspire the development of Abstract expressionism.

His matrimony to Guggenheim did non final and in Beverly Hills, California in Oct 1946, in a double ceremony with Homo Ray and Juliet P. Browner, he married Dorothea Tanning.^[12] The couple made their home in Sedona, Arizonafrom 1946 to 1953, where the loftier desert landscapes inspired them and recalled Ernst's earlier imagery.^[13] Despite the fact that Sedona was remote and populated past fewer than 400 ranchers, orchard workers, merchants and small-scale Native American communities, their presence helped begin what would go an American artists colony. Amongst the monumental reddish rocks, Ernst congenital a small cottage by paw on Brewer Road and he and Tanning hosted intellectuals and European artists such as Henri Cartier-Bresson and Yves Tanguy. Sedona proved an inspiration for the artists and for Ernst, who compiled his bookAcross Painting and completed his sculptural masterpieceCapricorn while living there. As a issue of the volume and its publicity, Ernst began to achieve fiscal success. From the 1950s he lived mainly in France. In 1954 he was awarded the Grand Prize for painting at the Venice Biennale.^[14] He died at the age of 84 on 1 April 1976 in Paris and was interred at Père Lachaise Cemetery.^[ten]

Selected works [edit]

Paintings [edit]

Early works [edit]

• Aquis Submersus (1919)
• Trophy, Hypertrophied (1919)
• Little Machine Constructed past Minimax Dadamax in Person (1919–1920)
• Murdering Airplane (1920)
• The Hat Makes the Man (1920)
• Celebes (1921)
• Oedipus Rex (1922)

First French period [edit]

• Pietà or Revolution past Night (1923)
• Saint Cecilia (1923)
• The Wavering Woman (1923)
• Ubu Imperator (1923)
• Of This Men Shall Know Nothing (1923)
• Two Children Are Threatened by a Nightingale (1924)
• Adult female, Old Human being and Flower (1924)
• Paris Dream (1924–25)
• The Blessed Virgin Chastises the Infant Jesus Before 3 Witnesses: A.B., P.Due east. and the Artist (1926)
• Wood series, e.g.Forest and Dove (1927),The Wood (1927)
• Rendezvous of Friends – The Friends Become Flowers (1928)
• Loplop serial, e.g.Loplop Introduces Loplop (1930),Loplop Introduces a Young Girl (1930)
• Metropolis series, e.g.Petrified City (1933),Entire City (1935–36, two versions)
• Garden Aeroplane Trap series (1935–36)
• The Joy of Living (1936)
• The Nymph Echo (1936)
• The Fireside Affections (1937)
• The Fascinating Cypress (1940)
• The Robing of the Bride (1940)

American catamenia [edit]

• Totem and Taboo (1941)
• Marlene (1941)
• Napoleon in the Wilderness (1941)
• Day and Dark (1941–42)
• The Antipope(1942)
• Europe After the Rain 2 (1940–42)
• Surrealism and Painting (1942)
• Vox Angelica (1943)
• Everyone Here Speaks Latin (1943)
• Painting for Young People (1943)
• The Center of Silence (1944)
• Dream and Revolution (1945)
• The Temptation of Saint Anthony (1945)
• The Phases of the Night (1946)
• Design in Nature (1947)
• Inspired Hill (1950)
• Colorado of Medusa, Colour-Raft of Medusa (1953)

Second French period [edit]

• Mundus est fabula (1959)
• The Garden of France (1962)
• The Sky Marries the Earth (1964)
• The World of the Naive (1965)
• Ubu, Father and Son (1966)
• Nativity of a Galaxy (1969)
• "La dernière forêt" (The terminal wood) (1960–1970)

Collages, lithographs, drawings, illustrations, etc. [edit]

• Fiat modes (1919, portfolio of lithographs)
• Illustrations for books by Paul Éluard:Répétitions (1922),Les malheurs des immortels (1922),Au défaut du silence (1925)
• Histoire Naturelle (1926, frottage drawings)
• La femme 100 têtes (1929, graphic novel)
• Rêve d'une petite fille qui voulut entrer au carmel (1930, graphic novel)
• Une Semaine de Bonté (1934, graphic novel)
• Paramythes (1949, collages with poems)
• Illustrations for editions of works past Lewis Carroll:Symbolic Logic (1966, under the titleLogique sans peine),The Hunting of the Snark (1968), andLewis Carrols Wunderhorn (1970, an anthology of texts)
• Deux Oiseaux (1970, lithograph in colours)
• Aux petits agneaux (1971, lithographs)
• Paysage marin avec capucin (1972, illustrated book with essays past various authors)
• Maximiliana: the illegal practice of astronomy : hommage à Dorothea Tanning (1974, art volume)
• Oiseaux en peril (1975, etchings with aquatint in colours; published posthumously)

Sculpture [edit]

• Bird (c. 1924)
• Oedipus (1934, two versions)
• Moonmad (1944)
• An Anxious Friend (1944)
• Capricorn (1948)
• The Male monarch Playing with the Queen (1954)
• Two and 2 Make One (1956)
• Immortel (1966–67)

Ernst in mod culture [edit]

• Many of Ernst's works fromUne Semaine de Bonté are used in albums past American rock group The Mars Volta. Also,Barefoot in the Head, a collaboration betwixt guitarist Thurston Moore and saxophonists Jim Sauter and Don Dietrich of Borbetomagus, features a collage from this same book.
• American stone group Mission of Burma titled two songs subsequently the artist: "Max Ernst" was the b-side of their first 1980 single (now included on the CD ofSignals, Calls and Marches), mentioning two of Ernst'due south paintings (The Blessed Virgin Chastises the Infant Jesus andGarden Airplane-Trap) and ending with the words "Dada dada dada ..." repeated many times and distorted via record loop; their 2002 anthologyOnOffOn features "Max Ernst's Dream".
• Author J. G. Ballard makes numerous references to the art works of Max Ernst in his breakthrough novelThe Drowned World (1962) and the experimental drove of brusk storiesThe Atrocity Exhibition (1970).
• Europe After the Rain was used by musician John Foxx as the title for the opening rail of his 1981 anthologyThe Garden.
• Max Ernst himself, and some of his work, is mentioned in William Gibson'southward novel Count Cipher (1986), the second novel of the Sprawl trilogy, an influential ready of books which established the cyberpunk subgenre of science-fiction
• (The) Eye of Silence was used past musician Cavestar (Kevin Crosslin) as the title of a track from his 1997 albumCavestar.
• The first edition of the Penguin paperback edition of James Blish'due southA Case of Conscience uses details fromThe Eye of Silence every bit comprehend art.
• Ernst's alter-ego Loplop appears in China Miéville's 1998 debut novelKing Rat.
• German experimental electronic musician Thomas Brinkmann has made numerous references to Max Ernst and Loplop in his productions and tape labels.

Legacy [edit]

Max Ernst's life and career are examined in Peter Schamoni'due south 1991 documentaryMax Ernst. Dedicated to the fine art historian Werner Spies, it was assembled from interviews with Ernst, stills of his paintings and sculptures, and the memoirs of his married woman Dorothea Tanning and son Jimmy. The 101-infinitesimal German language film was released on DVD with English subtitles by Paradigm Entertainment.

In 2005, "Max Ernst: A Retrospective" opened at the Metropolitan Museum of Fine art and included works such asCelebes (1921),Ubu Imperator (1923), andFireside Angel (1937), which is one of the few definitively political pieces and is sub-titledThe Triumph of Surrealismdepicting a raging bird-like beast that symbolises the wave of fascism that enveloped Europe. The exhibition also includes Ernst's works that experiment with complimentary association writing and the techniques of frottage, created from a rubbing from a textured surface; grattage, involving scratching at the surface of a painting; and decalcomania, which involves altering a wet painting past pressing a 2nd surface against information technology and taking it away.^[xv]

Ernst's son Jimmy, a well-known German/American abstract expressionist painter, who lived on the south shore of Long Island, died in 1984. His memoirs,A Non-So-Still Life, were published presently before his death. Max Ernst's grandson Eric and his granddaughter Amy are both artists and writers.

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Source: https://archive.org/details/MaxErnstWikipedia

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