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110+ Works 1,375 Membros 15 Reviews 6 Favorited

About the Author

Obras de Max Ernst

Hundred Headless Woman (1956) 116 cópias
Max Ernst: A Retrospective (1975) 57 cópias
Ernst (1975) 50 cópias
Max Ernst: A Retrospective (1975) 26 cópias
Max Ernst (1977) 23 cópias
Max Ernst (1977) — Ilustrador — 21 cópias
Beyond painting (1700) 21 cópias
Max Ernst (1969) 15 cópias
Max Ernst Retrospective (2013) 15 cópias
Inside the sight (1987) 11 cópias
Tres novelas en imágenes (2008) 9 cópias
Max Ernst Oeuvre-Katalog (1975) 7 cópias
Homage to Max Ernst (1971) 5 cópias
Max Ernst: The Sculpture (1990) 5 cópias
Max Ernst (1981) 4 cópias
Écritures (1970) 4 cópias
Histoire Naturelle (1972) 4 cópias
Max Ernst. Dadamax (1979) 3 cópias
Le Néant et son double (1968) 2 cópias
Paramyter (2010) 2 cópias
Max Ernst (1978) 1 exemplar(es)
Max Ernst 1 exemplar(es)
Max Ernst 1891 - 1976 1 exemplar(es)
Max Ernst (Modern artists) (1968) 1 exemplar(es)
Paintings (1969) 1 exemplar(es)
Identidade instantânea 1 exemplar(es)
Fishbone flower 1 exemplar(es)
Max Ernst: Life and Work 1 exemplar(es)
Lieux communs 1 exemplar(es)
Livros e obra grafica 1 exemplar(es)
Art of this Century 1 exemplar(es)
Max Ernst 1 exemplar(es)

Associated Works

The Doors of Perception / Heaven and Hell (1954) — Artista da capa, algumas edições4,534 cópias
The Crystal World (1966) — Artista da capa, algumas edições1,205 cópias
Theories of Modern Art: A Source Book by Artists and Critics (1968) — Contribuinte — 753 cópias
The Ubu Plays (1962) — Artista da capa, algumas edições589 cópias
Misogynies (1989) — Artista da capa, algumas edições215 cópias
Babylon (1927) — Ilustrador, algumas edições144 cópias
Art of the Surrealists (1995) — Ilustrador — 110 cópias
Surrealist Painters and Poets: An Anthology (2001) — Contribuinte — 67 cópias
Science Fiction (1973) — Artwork — 40 cópias
L'âge d'or [1930 film] (1930) — Actor — 30 cópias
Max Ernst (1973) 24 cópias
Max Ernst: Dream and Revolution (2008)algumas edições13 cópias
Where or When (2005) 9 cópias
Leonora Carrington: la mariée du vent (2008) — Autor — 6 cópias

Etiquetado

19th century (33) 20th century (75) Africa (17) anthology (19) art (431) art criticism (26) art history (94) art theory (40) collage (72) dada (29) drama (53) Ernst (42) essays (22) feminism (49) fiction (188) France (29) French (50) French literature (50) Germany (16) graphic novel (22) history (16) literature (41) Max Ernst (56) modern (17) modern art (39) modernism (19) non-fiction (59) novel (68) painting (29) plays (36) read (36) reference (15) science fiction (252) sf (69) surreal (15) surrealism (239) theatre (61) theory (26) to-read (142) unread (23)

Conhecimento Comum

Nome de batismo
Ernst, Max
Data de nascimento
1891-04-02
Data de falecimento
1976-04-01
Local de enterro
Cimetière du Père-Lachaise, Paris, France
Plot: Columbarium (Division 87)
Sexo
male
Nacionalidade
Germany (birth)
Local de nascimento
Brühl, Germany
Local de falecimento
Paris, France
Locais de residência
Brühl, Germany
Paris, France
Marseille, France
New York, New York, USA
Sedona, Arizona, USA
Saint-Martin-d'Ardèche, France
Educação
University of Bonn
Ocupação
Painter
Sculptor
Graphic Artist
Poet
Dadaist
Surrealist
Relacionamentos
Guggenheim, Peggy (spouse)
Fry, Varian (rescue network)
Carrington, Leonora (lover)
Tanning, Dorothea (spouse)
Ernst, Jimmy (son)
Straus, Luise (spouse)
Organizações
American Academy of Arts and Letters (Foreign Honorary, Art, 1974)
Pequena biografia
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.

Membros

Resenhas

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.
 
Marcado
tENTATIVELY | outras 8 resenhas | Apr 3, 2022 |
Came for the art, enjoyed the art. Kinda meh on the rest of it.
 
Marcado
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.
… (mais)
 
Marcado
Glenn_Russell | outras 2 resenhas | Nov 13, 2018 |
(Paris: Éditions de Carrefour 1929) met een voorwoord van André Breton
 
Marcado
Faustroll | outras 2 resenhas | Aug 23, 2018 |

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Estatísticas

Obras
110
Also by
15
Membros
1,375
Popularidade
#18,704
Avaliação
3.8
Resenhas
15
ISBNs
109
Idiomas
12
Favorito
6

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