From Wikipedia, the free encyclopedia

Max Ernst
Max Ernst and Dorothea Tanning in 1948
Born	April 2, 1891(1891-04-02) Brühl, Germany
Died	April 1, 1976 (aged 84) Paris, France
Nationality	German
Field	painting, sculpture, poetry
Movement	Dada, Surrealism

Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst is considered to be one of the primary pioneers of the Dada movement and Surrealism.

Early life

Ernst was born in Brühl, Germany, near Cologne. In 1909, he enrolled in the University at Bonn to study philosophy but soon abandoned the courses. He began painting that year, but never received any formal artistic training.^[1] During World War I he served in the German army, which was a momentous interruption in his career as an artist. He stated in his autobiography, "Max Ernst died the 1st of August, 1914."

Dada and Surrealism

Max Ernst, Ubu Imperator, (1923), Musee National d'Art Moderne, Centre Pompidou, Paris, France

After the war, filled with new ideas, Ernst, Jean Arp and social activist Alfred Grünwald formed the Cologne, Germany Dada group. In 1918 he married the art historian Luise Straus—a stormy relationship that would not last. The couple had a son who was born in 1920, the artist Jimmy Ernst. (Luise died in Auschwitz in 1944.^[2]) In 1919 Ernst visited Paul Klee and created paintings, block prints and collages, and experimented with mixed media.

In 1922, he joined fellow Dadaists André Breton, Gala, Tristan Tzara, and Paul Éluard at the artistic community of Montparnasse.^[1] Constantly experimenting, in 1925 he invented a graphic art technique called frottage (see Surrealist techniques), which uses pencil rubbings of objects as a source of images.

He also created another technique called 'grattage' in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He uses this technique in his famous painting 'Forest and Dove' (as shown at the Tate Modern).

The next year he collaborated with Joan Miró on designs for Sergei Diaghilev. With Miró's help, Ernst pioneered grattage in which he troweled pigment from his canvases. He also explored with the technique of decalcomania which involves pressing paint between two surfaces.^[3]

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 this alter-ego was an extension of himself stemming from an early confusion of birds and humans. He said that one night when he was young he woke up and found that his beloved bird had died, and a few minutes later his father announced that his sister was born. Loplop often appeared in collages of other artists' work, such as Loplop presents André Breton. Ernst drew a great deal of controversy with his 1926 painting The Virgin Chastises the infant Jesus before Three Witnesses: André Breton, Paul Éluard, and the Painter.^[4] In 1927 he married Marie-Berthe Aurenche, and it is thought his relationship with her may have inspired the erotic subject matter of The Kiss and other works of this year.^[5] In 1930, he appeared in the film L'Âge d'or, directed by self-identifying Surrealist Luis Buñuel. Ernst began to make sculpture in 1934, and spent time with Alberto Giacometti. In 1938, the American heiress and artistic patron Peggy Guggenheim acquired a number of Max Ernst's works which she displayed in her new museum in London. Ernst and Peggy Guggenheim were also married to one another from 1942 to 1946.

World War II and later life

L'Ange du Foyer, (1937)

In 1938 he was interned in Camp des Milles, near Aix-en-Provence, along with fellow surrealist, Hans Bellmer, who had recently emigrated to Paris on the outbreak of World War II. Thanks to the intercession of Paul Éluard, and other friends including the journalist Varian Fry he was discharged a few weeks later. Soon after the Nazi occupation of France, he was arrested again, this time by the Gestapo, but managed to escape and flee to America with the help of Guggenheim.^[1] He left behind his lover, Leonora Carrington, and she suffered a major mental breakdown. Ernst and Guggenheim arrived in the United States in 1941 and were married the following year. Along with other artists and friends (Marcel Duchamp and Marc Chagall) who had fled from the war and lived in New York City, Ernst helped inspire the development of Abstract expressionism.

His marriage to Guggenheim did not last, and in Beverly Hills, California in October 1946, in a double ceremony with Man Ray and Juliet P. Browner, he married Dorothea Tanning. The couple first made their home in Sedona, Arizona. In 1948 Ernst wrote the treatise Beyond Painting. As a result of the publicity, he began to achieve financial success.

In 1953 he and Tanning moved to a small town in the south of France where he continued to work. The City, and the Galeries Nationales du Grand-Palais in Paris published a complete catalogue of his works.

In 1966 he created a chessgame made of glass which he named "Immortel"; it has been described by the poet André Verdet as

a masterpiece of bewitching magic, worthy of a Maya palace or the residence of a Pharaon.^[6]

Ernst died on 1 April 1976, 1 day before his birthday, in Paris.^[1] He was interred at the Père Lachaise Cemetery.

Selected works

• And the butterflies began to sing (Et les Papillions se Mettent a Chanter) (1929)
• Aquis Submersus (1919)
• Entire City (1934)
• Capricorn (1948)
• Europe After the Rain (1940-1942)
• Forest and Dove (1927)
• La femme 100 têtes (The hundred-headed woman or The woman without a head) (1929)
• Little Machine Constructed by Minimax Dadamax in Person (1919-1920)
• Loplop Introduces Loplop (1930)
• Lunar Asparagus (1935)
• Murdering Airplane (1920)
• Pietà or Revolution by Night (1923)
• The Elephant Celebes (1921)
• The Hat Makes the Man (1920)
• The Robing of the Bride (1940)
• The Wood (1927)
• Trophy, Hypertrophied (1919)
• Two Children Are Threatened by a Nightingale (1924)
• Une Semaine de Bonté (1934)

Ernst in modern culture

• Many of Ernst's works from Une Semaine de Bonté are used in albums by American rock group The Mars Volta. Also, Barefoot In The Head, a collaboration between guitarist Thurston Moore and saxophonists Jim Sauter and Don Dietrich of Borbetomagus, features a collage from this same book.
• The American rock group Mission of Burma titled two songs after the artist: "Max Ernst" was the b-side of their first 1978 single (now included on the CD of Signals, Calls and Marches), mentioning two of Ernst's paintings (The Blessed Virgin Chastises the Infant Jesus and Garden Airplane-Trap) and ending with the words "Dada dada dada ..." repeated many times and distorted via tape loop; their 2002 album OnOffOn features "Max Ernst's Dream".
• The writer J. G. Ballard makes numerous references to the art works of Max Ernst in his breakthrough novel The Drowned World (1962) and the experimental collection of short stories The Atrocity Exhibition (1970).

Legacy

Max Ernst's life and career are the subject of Peter Schamoni's 1991 documentary Max Ernst. Dedicated to the art historian Werner Spies, it was assembled from interviews with Ernst, stills of his paintings and sculptures, and the memoirs of his wife Dorothea Tannning and son Jimmy. The 101-minute German film was released on DVD with English subtitles by Image Entertainment.

In 2005, "Max Ernst: A Retrospective" opened at the Metropolitan Museum of Art and included works such as Celebes (1921), Ubu Imperator (1923), and Fireside Angel (1937), which is one of the few definitively political pieces and is sub-titled The Triumph of Surrealism depicting a raging bird-like creature that symbolizes the wave of fascism that took over Europe. The exhibition also includes Ernst's works that experiment with free 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 by pressing a second surface against it and taking it away.^[7]

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 Not-So-Still Life, were published shortly before his death. His grandson Eric and granddaughter Amy are both artists and writers.

Gallery

Europe After the Rain II (1940-1942)

Ernst sculptures on display at the Louisiana Museum of Modern Art in Denmark

The Max-Ernst-Museum in Brühl

References

External links

• Works in the National Galleries of Scotland

• Max-Ernst Museum Brühl
• Max Ernst collection The Museum of Modern Art (MoMA)
• Max Ernst works and biography Olga's Gallery
• Max Ernst works and biography Galerie Ludorff
• Max Ernst gallery Ten Dreams
• "Max Ernst, will-o'-the-wisp" Max Ernst explained to younger generation, Gilbert-Rts
• Max Ernst facts Artfacts.Net
• Max Ernst MasterPiece: "Immortel" Maxernstmasterpiece.com
• Max Ernst Exposition Max Ernst Exposition on the web

From Wikiquote

Max Ernst had his first contact with the sensible world, when he came out of the egg which his mother had laid in an eagle's nest and which the bird had brooded for seven years.

Art has nothing to do with taste, art is not there to be "tasted".

Max Ernst (2 April 1891 – 1 April 1976) was a German painter and sculptor who worked in the styles of Dadaism, Surrealism, and Abstract Expressionism.

Unsourced

• A series of powers are at work within the great stream of Expressionism who have no outward similarity to one another but a common direction of thrust, namely the intention to give expression to things of the psyche [Seelisches] through form alone.
  • In a newspaper review of "Rhenish Expressionists" in Bonn (1913), as quoted in Expressionism (2004) by Norbert Wolf

• The 2nd of April (1891) at 9:45 a.m. Max Ernst had his first contact with the sensible world, when he came out of the egg which his mother had laid in an eagle's nest and which the bird had brooded for seven years.
  • "Some Data on the Youth of M. E., As Told by Himself" in the View (April 1942); also quoted in Max Ernst and Alchemy (2001) by M. E. Warlick, p. 10

• Max Ernst died the 1st of August 1914. He resuscitated the 11th of November 1918 as a young man aspiring to become a magician and to find the myth of his time.
  • "Some Data on the Youth of M. E., As Told by Himself" in the View (April 1942); also quoted in Max Ernst and Alchemy (2001) by M. E. Warlick, p. 17

• Art has nothing to do with taste, art is not there to be "tasted". Yet a certain mayor believes that art exists to be "judged", and the most modern art to be "judged from a business point of view". That such an original thought could emerge from a mayor's brain! What the mayor wants is exactly what the critics of the large and small dailies actually do. They set out to judge art. That is a very pleasant occupation, because no matter how wrong a judgment may be, you never have to revise it. The art judges talk about "ability" and complain that the "younger generation" has lost this ability. Sometimes their complaints are even seriously intended. But, gentlemen, do you really know what that is — ability? No, you don't.
  • As quoted in Max Ernst : Sculptures (1996) by Max Ernst, Jürgen Pech, and Ida Gianelli, p.11

External links

Wikipedia has an article about:

Max Ernst

• Max-Ernst Museum Brühl
• Ernst at Olga's Gallery
• Ernst at the Museum of Modern Art (MoMA)
• Available Works and Biography, Galerie Ludorff, Duesseldorf, Germany
• Ten Dreams Galleries
• Will-O'-the-Wisp
• Max Ernst facts on Artfacts.Net