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110+ oeuvres 1,375 utilisateurs 15 critiques 6 Favoris

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Œuvres de Max Ernst

La femme, 100 têtes (1956) 116 exemplaires
Max Ernst: A Retrospective (1975) 57 exemplaires
Ernst (1975) 50 exemplaires
Max Ernst: A Retrospective (1975) 26 exemplaires
Max Ernst (1977) 23 exemplaires
Max Ernst (1977) — Illustrateur — 21 exemplaires
Beyond painting (1700) 21 exemplaires
Max Ernst (1969) 15 exemplaires
Max Ernst Retrospective (2013) 15 exemplaires
Inside the sight (1987) 11 exemplaires
Tres novelas en imágenes (2008) 9 exemplaires
Max Ernst : A Private World View (2003) 7 exemplaires
Max Ernst Oeuvre-Katalog (1975) 7 exemplaires
Max Ernst: The Sculpture (1990) 5 exemplaires
Max Ernst, Graphik und Bücher (1991) 5 exemplaires
Max Ernst (1981) 4 exemplaires
Ode à Gala Incognita 4 exemplaires
Max Ernst. Dadamax (1979) 3 exemplaires
Max Ernst: The Late Lithographs (1989) 2 exemplaires
Misfortunes of the Immortals (1943) 2 exemplaires
Le Néant et son double (1968) 2 exemplaires
Paramyter (2010) 2 exemplaires
Max Ernst (1978) 1 exemplaire
Max Ernst 1 exemplaire
Max Ernst 1891 - 1976 1 exemplaire
Max Ernst (Modern artists) (1968) 1 exemplaire
Paintings (1969) 1 exemplaire
Fishbone flower 1 exemplaire
Lieux communs 1 exemplaire
Livros e obra grafica 1 exemplaire
Art of this Century 1 exemplaire
Max Ernst 1 exemplaire

Oeuvres associées

The Doors of Perception / Heaven and Hell (1954) — Artiste de la couverture, quelques éditions4,536 exemplaires
La Forêt de cristal (1966) — Artiste de la couverture, quelques éditions1,207 exemplaires
Theories of Modern Art: A Source Book by Artists and Critics (1968) — Contributeur — 754 exemplaires
Tout Ubu (1962) — Artiste de la couverture, quelques éditions589 exemplaires
Misogynies (1989) — Artiste de la couverture, quelques éditions215 exemplaires
Babylone (1927) — Illustrateur, quelques éditions145 exemplaires
Art of the Surrealists (1995) — Illustrateur — 110 exemplaires
Surrealist Painters and Poets: An Anthology (2001) — Contributeur — 67 exemplaires
Science Fiction (1973) — Artwork — 40 exemplaires
L'age d'or (1930) — Actor — 30 exemplaires
Max Ernst (1973) 24 exemplaires
Max Ernst: Dream and Revolution (2008)quelques éditions13 exemplaires
Where or When (2005) 9 exemplaires
Leonora Carrington: la mariée du vent (2008) — Auteur — 6 exemplaires

Étiqueté

Partage des connaissances

Nom légal
Ernst, Max
Date de naissance
1891-04-02
Date de décès
1976-04-01
Lieu de sépulture
Cimetière du Père-Lachaise, Paris, France
Plot: Columbarium (Division 87)
Sexe
male
Nationalité
Germany (birth)
Lieu de naissance
Brühl, Germany
Lieu du décès
Paris, France
Lieux de résidence
Brühl, Germany
Paris, France
Marseille, France
New York, New York, USA
Sedona, Arizona, USA
Saint-Martin-d'Ardèche, France
Études
University of Bonn
Professions
Painter
Sculptor
Graphic Artist
Poet
Dadaist
Surrealist
Relations
Guggenheim, Peggy (Epouse)
Fry, Varian (rescue network)
Carrington, Leonora (Amante)
Tanning, Dorothea (Epouse)
Ernst, Jimmy (Fils)
Caillois, Roger (Ami)
Organisations
American Academy of Arts and Letters (Foreign Honorary, Art, 1974)
Courte biographie
Max Ernst, born in Brühl, Germany, was an avant-garde artist who helped found both the Dadaist and Surrealist movements and organize exhibitions of the works. In 1938, he separated from his wife and went to live and create art in Saint-Martin-d'Ardèche in southern France with fellow artist Leonora Carrington. He was interned by the French authorities at Camp des Milles near Marseille as an "enemy alien" after the start of World War II in 1939, but released a few weeks later thanks to the intercession of friends, including Paul Éluard, and American journalist Varian Fry. When Nazi Germany occupied France, he was arrested by the Gestapo, but managed to escape and flee to the USA with his patron and lover Peggy Guggenheim, whom he later married. Along with other European refugee artists and friends, Ernst helped introduce new art forms to Americans. In 1948, he wrote the treatise Beyond Painting, which helped bring him publicity and financial success. In 1953, Ernst returned to live in France with his second wife, Dorothea Tanning. The Galeries Nationales du Grand-Palais in Paris published a complete catalogue of his works.

Membres

Critiques

Just the idea of a "Surrealistic Novel in Collage" is enuf for me. Add Ernst's delicate touch & it's even better. Ultimately, though, I have to admit to getting a little bored by the technical uniformity of the prints used - even w/ Ernst's careful recycling.
 
Signalé
tENTATIVELY | 8 autres critiques | Apr 3, 2022 |
Came for the art, enjoyed the art. Kinda meh on the rest of it.
 
Signalé
wetdryvac | Mar 2, 2021 |


This is German artist Max Ernst's collage-novel. He beckons us to provide our own personal interpretation to the captions and surreal collages he constructed from old picture books and journal so that we create our own version of the story. I did exactly that – and created my own micro fiction below:

-----

Black Collage

I’m constructing a Max Ernst-like collage out of last night’s dream. Here are the pieces: a room, a toilet bowl, a boy named Danny who has one red eye and one green eye, a menacing black-hooded figure and a host of animals: opossum, Tasmanian devil, wallaby, aardvark, baboon, rabbit, mallard, chameleon, bullfrog and snake.

The dream consists of the following: Danny walks into a room with a toilet bowl at one end and all those animals, stacked one on top of another like a totem pole at the other.

“I would really like to have a pet,” shouts Danny.

Hearing his wish, the animals flee – fly, run and crawl straight for the toilet bowl. All the animals escape except one – Danny catches the mallard by its rump feathers just as it is about to disappear down the plumbing. Not wishing to be converted to pet status, the mallard plays possum, closing its eyes and flattening itself out like a rug. At this point the hooded figure enters and accuses Danny of engaging in tasteless black humor.


Now for the collage: I place Danny in the middle giving him grasping, outstretched hands. Since I’m working like Max Ernst, that is, constructing a collage in black-and-white, I attempt to convey the bizarreness of Danny’s eyes by giving him the eyes of a fly. I then paste the baboon, wallaby, rabbit, aardvark and snake beyond Danny’s grasp and position the toilet bowl at the bottom with a string of other animals – opossum, chameleon, bullfrog and finally the mallard – heading its way.

The one in the hood goes at the very top of the collage. As for his comment about black humor, I think it only appropriate to give this menacing figure the head of a Tasmanian devil. With such an absurd head, let’s see how seriously anybody takes his comment about bad taste.
… (plus d'informations)
 
Signalé
Glenn_Russell | 2 autres critiques | Nov 13, 2018 |
(Paris: Éditions de Carrefour 1929) met een voorwoord van André Breton
 
Signalé
Faustroll | 2 autres critiques | Aug 23, 2018 |

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Statistiques

Œuvres
110
Aussi par
15
Membres
1,375
Popularité
#18,704
Évaluation
3.8
Critiques
15
ISBN
109
Langues
12
Favoris
6

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