ABC Gallery, Dali, Salvador, Salvador Dali, World's, Painters, Great Artist, Largest, Online, Fine, Velázquez, Art, Gallery, artchive, abc gallery, gallery abc, black goya painting, beautiful pictures, cezanne, caravaggio, Images, fine art tattoos, fine art tattoo, added, picaso,goya paintings, rose period, blue period, early works, daily, 畢加索 , piccasso, picaso, from, Picasso, to, Pissaro, and, Bernini, to, Bellini, Over, 14,000, images, of, oil, paintings, from, Abstract Expressionists African Art ALTDORFER American Art Ancient Art ARDON ARP Art Nouveau AVERY BACON BAILEY BALLA BALTHUS Baroque BASQUIAT Bauhaus BAUMEISTER BAZILLE BEARDSLEY BECKMANN BELLINI BELLOTTO BELLOWS BERNINI BEUYS BIERSTADT BINGHAM BLAKE BLUEMNER BOCCIONI BÖCKLIN BOHROD BONNARD BOSCH BOTERO BOTTICELLI BOUDIN BOUGUEREAU BRANCUSI BRAQUE BRONZINO BROWN BRUCE BRUEGEL BURCHFIELD BURNE-JONES CAILLEBOTTE CAMPIN CANALETTO CARAVAGGIO CARR CARRACCI CASSATT Cave Paintings CÉZANNE CHAGALL CHARDIN CHIHULY Chinese Art CHURCH CIMABUE CLEMENTE COLE CONSTABLE Contemporary COPLEY CORINTH CORNELL COROT CORREGGIO COURBET CRANACH CRIVELLI Cubism Dada DALÍ DAUBIGNY DAUMIER DAVID, G DAVID, J- L DE CHIRICO DE HOOCH DE KOONING DE LA TOUR DEGAS DELACROIX DELAUNAY DEMUTH DERAIN DIEBENKORN DONATELLO DONGEN DOVE DUBUFFET DUCHAMP DUFY DURAND DÜRER EAKINS Egyptian Art EL GRECO ERNST ESCHER Expressionism FISCHL FRA ANGELICO FRA CARNEVALE FRAGONARD FRANKENTHALER FREUD FRIEDRICH FUSELI Futurism GAINSBOROUGH GAUDI GAUGUIN GENTILESCHI GERICAULT GHIBERTI GHIRLANDAIO GIACOMETTI GIORGIONE GIOTTO GLACKENS GOES GOODMAN GOYA GRAY Greek Art GRIS Group of Seven GRÜNEWALD GUSTON HALS HARING HARNETT HARTLEY HASSAM HAUSMANN HEADE HENRI HEPWORTH HESSE HIROSHIGE HIRST HOCKNEY HODGKIN HOGARTH HOKUSAI HOLBEIN HOMER HOPPER Hudson River School HUNDERTWASSER HUNT IMMENDORFF Impressionism INGRES INNESS JOHNS JORDAENS KAHLO KANDINSKY KENSETT KIEFER KIENHOLZ KIRCHNER KITAJ KLEE KLIMT KLINE KOKOSCHKA LAWRENCE LE NAIN LEGER LEONARDO LEVINE LEYSTER LICHTENSTEIN LIOTARD LIPPI LISSITZKY LOTTO LÜPERTZ MACKE MAGRITTE MALEVICH MAN RAY MANET MANTEGNA MARC MARSH MARTINI MASACCIO MATISSE MEMLING MICHELANGELO MILLAIS MILLET MIRO MITCHELL MODIGLIANI MONDRIAN MONET MOORE MORAN MORANDI MOREAU MORISOT MUCHA MUNCH MURILLO MURRAY Neo-Classical NEEL NOLDE O'KEEFFE PARMIGIANINO PEARLSTEIN PETO Photographers PICASSO PIERO della FRANCESCA PIERO di COSIMO PIRANESI PISSARRO POLKE POLLOCK Pop Art PORTER POSADA Post-Impressionism POUSSIN Pre-Raphaelites PRENDERGAST PUVIS RAPHAEL RAUSCHENBERG REDON REMBRANDT REMINGTON Renaissance Art RENOIR RICHTER RIVERA ROCKWELL Rococo RODIN Roman Art Romanticism ROSSETTI ROTHKO ROUAULT H. ROUSSEAU T. ROUSSEAU ROUSSEL RUBENS RUISDAEL RYDER SARGENT SCHIELE SCHWITTERS Sculptors SEURAT SHEELER SIGNAC SIGNORELLI SISLEY SLOAN SOHLBERG SOROLLA Spanish Art SPILLIAERT DE STAEL Surrealism SWEERTS Symbolism TAMAYO TANNER TANSEY THIEBAUD TIEPOLO TINTORETTO TISSOT TITIAN TOULOUSE-LAUTREC TREVIÑO TURNER TWOMBLY UCCELLO VAN DYCK VAN EYCK VAN GOGH VELÁZQUEZ VERMEER VERONESE WARHOL WATTEAU WEST WEYDEN WHISTLER Women Artists WYETH ZURBARAN Velazquez

ERNST

Max Ernst (1891-1976) Skip to Images

Text from Werner Spies, introduction to "Max Ernst: A Retrospective"

"The scandals associated with the name of Max Ernst during the early post-war period have become legendary. They were sparked off by radical actions designed to épater les bourgeois to the utmost. Yet the artist's involvement in this type of activity was sporadic and temporary. He once explained why this was so during a visit he and I made in 1967 to the great Dada retrospective in Paris. Being a Dadaist by profession, he said, was a contradiction in terms. There was no such thing as an unchanging state of revolution. And to put the spirit of Dada on exhibition, he continued, was no more than a weak illustration, like trying to capture the violence of an explosion by presenting the shrapnel.

"Behind this rejection one could sense a realization that the deep and intense despair that had triggered off the first post-war works had been rendered harmless to the point of cuteness by the subsequent, reverential appreciation of Dada. The artistic character now so matter-of-factly attributed to these works was by no means intended by Max Ernst and the other members of the Dada groups. This is indicated by the revolutionary, self-destructive elements that occur in so many of Ernst's texts. Not only do they pillory and abuse established society, their hate is equally directed inwards, expressing itself in self-abasement and a radical renunciation of humanistic values and of belief in utopias. After a phase of extreme disillusionment which, as all the texts in Bulletin D ordie schammade indicate, could react to the destruction of war only by reviling and distorting established values all the more, there gradually emerged works in which the pendulum of destruction began to swing back. The radicality with which, in the course of a few months in 1919, Ernst demolished the institutional and definitional parameters of art both traditional and avant-garde was followed before the year was out by the building of the world of collage.

"The positive term 'building' is appropriate in this connection, although it may seem an extraordinary paradox. A few examples will serve to show what is meant. Max Ernst's rejection of art was given a stylistically determined form. The works that now emerged were structured by principles that governed the choice of materials and by constants that determined their use. From the beginning Ernst knew how to set limits on the infinite number of possibilities offered by existing materials and forms. When he invented this new working procedure based on quotation in 1920/21 he immediately recognized both its potential and the dangers it involved.

"The expressive possibilities of collage seem so simple that one is tempted to think that anyone could employ them to equal effect. Yet when one reviews the works of this early period - the printer's plate prints, say, those compositions made with the aid of old line blocks found in a printer's shop - it becomes obvious that Max Ernst's brilliant accomplishment consisted of having developed a syntax by which the employment of this found material could be controlled. For all their independence from traditional artistic techniques and the imitation of nature, it is surprising how much stylistic unity these works evince. Thanks to his stylistic syntax Ernst created recognizable links between the works, which form a coherent sequence. Criteria of choice and criteria of employment are everywhere in evidence. Indeed, the effect of every Max Ernst image depends largely on the fact that it sets its own limits. One might add, as a general principle, that the collages and frottages (and the painting and sculpture derived from these techniques) arc so astonishingly effective because their creator succeeded in placing conscious restrictions on the arbitrariness and amorphousness to which such semi-automatic techniques all too easily lead. Ernst not only created individual, disparate works; more importantly, with the aid of variations and series, he simultaneously created the climate in which these works live and breathe. And one should note that it was a climate his contemporaries found almost unbearably bracing. In an announcement in die schammade for the portfolio Fiat modes - pereat ars Max Ernst characterized himself, in an untranslatable pull on the German word for uterus, Gebarmutter, as 'der gebaervater methodischen irrsinns', the male mother of methodical madness. If we take 'methodical' to be the operative term which reveals the essence of his procedure, we have the precondition for the fascinating developments that now began.

"These are observations that run entirely counter to the first radical phase of Cologne Dada, whose attack on aesthetic conventions placed it closer to Duchamp and Francis Picabia than, say, to the Dadaists in Berlin. This is why, in dealing with Max Ernst's work, it is impossible to do without the concept of processing, the conscious reworking of existing material. It is pointless to speak of anti-art in this connection, because what we are dealing with, quite objectively, is the genesis of a superb and far-reaching aesthetic. This is the point at which Ernst, the artist, comes on the scene. We must face up to a paradox: his early work had no direction, and was a far cry from his subsequent Dada activities. His first paintings, done within the orbit of August Macke, the Sturmgallery and the Cologne Sonderbund exhibition, were as planless and stylistically inconsistent as his Dada period was definitely articulated, a world of stylistically and morally defined resistance.

"Again, the crux is this: Max Ernst's careful selection of seminal imagery employed in collages and all the variants of collage, and the formal criteria which determined the composition of the printer's plate prints, rubbings, overpaining,s montages of photographic positives and paste-ups of wood engravings all indicate the primacy of control. Everywhere we look, we find invariables that oppose the seemingly unlimited availability of the material, that place considerable restrictions on its character and use.

"Let us try to define a few of the constants of this pictorial syntax. The most important is that Max Ernst's collages, for all their strangeness, strive for overall coherence and technical plausibility. This 'plausible' imagery, unlike the papiers colles of Picasso and Georges Braque, depends on an expurgation of the visible difference between artist's hand and non-artistic quotation. The joins and overlappings had to be concealed from the viewer. This is why Ernst frequently published his composite imagery only in printed form, in photographic reproduction or in versions later touched up with watercolour. Thanks to these tactics of concealment he succeeded in presenting collage as that which he thought it should be: a completely developed and autonomous system in which the origin of the separate elements is submerged in the final, total image. He was out to produce irritating imagery in which, as in the perfect crime, every clue to its identity had been erased. The joins between the collage elements, moreover, were not so much physical as mental in nature. The hinges linking one piece of source material with another had to remain invisible, which also explains why leaps in scale tended to be avoided. These would have given too much emphasis to the original meaning of the elements, upsetting the coherence of the final image. It is easy to see that such strict conditions limited the use of collage material to a much grater extent than is initially apparent.

"The collages require a redefinition of categories, since the fabrication of such imagery is bound up with a completely innovative notion of tradition and with an extraordinarily intense involvement with illustrations. A literal quotation of the illustrations employed would obviously contradict the meaning of the new image constructed from them, and also the circumstance that this new image must become part of a defined stylistic context. Considerations of this kind served Max Ernst as a guideline in making his selection from the plethora of intrinsically neutral material available to him.

"The laws of Dada - this seeming contradiction in terms is one of the most consequential results of a systematic investigation of the aesthetics of collage in Max Ernst's work. A glance around his studio will illustrate what I mean. Everywhere you looked there were stacks of illustrated books, scraps of wallpaper, raw materials of every description which the artist built into his works right up to the end of his career. When one leafs through the nineteenth-century folio volumes, illustrated with wood engravings, which were one of his favourite sources, one is surprised to find that he proceeded differently from the way one would have assumed in view of the enigmatic imagery that resulted from his use of them. Spectacular depictions with Dadaist or surreal qualities of their own interested him hardly at all. Instead, it was the banal, insignificant, run-of-the-mill illustrations that inspired him to pictorial statements of the most dazzling kind.

"In the collages various levels of meaning coexist on a single pictorial plane. Confronted with this composite imagery we have no choice but to apply the notion, familiar from traditional art, of the picture as a unity, a totality. Looking at pictures has accustomed us to considering the motifs that appear within an image as a whole. If we were not compelled by the coherent nature of the collages to employ this simultaneous perception, we might be able to perceive the elements from which they are constructed individually and divide the enigmatic image into intelligible parts. This involves us in a continual clash between overall perception and a need for interpretation that fastens on one detail after another; and this clash, in turn, is the source of that unique mood produced by any confrontation with a Max Ernst image - elements that are intelligible in isolation become ambivalent on the level of composition and communication.

"This discussion of his materials and their processing enables us to define the categories that determined what could enter his imagery and, by the same token, the criteria according to which certain materials were excluded from use in collage. After all, the principles governing the choice and employment of material also define the artist's rejection of an unlimited range of combinations of information in collage, what Theodor Adorno once called its 'bad boundlessness'. It was Ernst's refusal to accept information at random that led to the recognizability of his collages as his own. His resistance to a world captured in visual media was the basis for his style. For style is not merely a technical category, but all ethical one. As Joe Bousquet once put it: 'For all of the liberties he helped us conceive of, for every notion he discredited, Max Ernst paid the highest price. His life withstood continual tension between a creative furore that nothing could contain and an extremely rigorous method based on almost incredible demands.'"

 


 

 Ernst_VIRGIN_SPANKING

Ernst, Max The Virgin Spanking the Christ Child before Three Witnesses: Andre Breton, Paul Eluard, and the Painter 1926 Oil on canvas 196 x 130 cm Museum Ludwig, Cologne

 Ernst_TEETERING

Ernst, Max The Wavering Woman 1923 Oil on canvas 130.5 x 97.5 cm Kunstsammlung Nordrhein-Westfalen, Dusseldorf

 Ernst_SONG_OF_THE_FLESH

Ernst, Max The Song of the Flesh 1920 Collage with fragments of photographs, gouache and pencil on card 12 x 21 cm Musee National d'Arte Moderne, Centre Georges Pompidou, Paris

 Ernst_SNOWFLWR

Ernst, Max Snow Flowers 1929 Oil on canvas 130 x 130 cm Galerie Beyeler, Basle

 Ernst_SILENCE

Ernst, Max The Eye of Silence 1943/44 Oil on canvas 108 x 141 cm Washington University Art Gallery, Saint Louis, MO

 Ernst_POSTMAN_CHEVAL

Ernst, Max Le facteur Cheval The Postman Cheval 1932 Paper and fabric collage with pencil, ink, and gouache on paper on canvas 17 7/8 x 14 7/8 in. Peggy Guggenheim Collection, Venice

 Ernst_PLEIADS

Ernst, Max Approaching Puberty or The Pleiads 1921 Gouache and oil on paper, all on cardboard 24.5 x 16.5 cm Rene Rasmussen Collection, Paris

 Ernst_OEDIPUS

Ernst, Max Oedipus Rex 1922 Oil on canvas 93 x 102 cm Private collection, Paris

 Ernst_NTINGALE

Ernst, Max Two Children are Threatened by a Nightingale 1924 Oil on wood with wooden elements 69.8 x 57 x 11.4 cm The Museum of Modern Art, New York

 Ernst_MASTERS_BEDROOM

Ernst, Max The Master's Bedroom, It's Worth Spending a Night There 1920 Collage, gouache and pencil on paper 16.3 x 22 cm Private collectio0

 Ernst_JOY_LIVG

Ernst, Max The Joy of Living 1936 Oil on canvas 28 5/8 x 36 in. Private collection, London

 Ernst_INVISIBLE_PIANO

Ernst, Max Saint Cecilia (Invisible Piano) 1923 Oil on canvas 101 x 82 cm Spies/Merken 630 Staatsgalerie, Stuttgart

 Ernst_IMPERATR

Ernst, Max Ubu Imperator 1923 Oil on canvas 100 x 81 cm Helene Anavi Collection, Paulhiac

 Ernst_HAT_MAKES_THE_MAN

Ernst, Max The Hat Makes the Man 1920 Collage, pencil, ink and watercolor on paper 35.6 x 45.7 cm The Museum of Modern Art, New York

 Ernst_FRUITEXP

Ernst, Max Fruit of a Long Experience 1919 Painted wood relief 45.7 x 38 cm Private collection, Geneva

 Ernst_FISHBONE

Ernst, Max Fishbone Forest 1927 Oil on canvas 54 x 65 cm Galerie Beyeler, Basle

 Ernst_EUROPE_AFTER_RAIN

Ernst, Max Europe After the Rain Europa nach dem Regen 1940-42 Oil on canvas 54.8 x 147.8 cm Wadsworth Atheneum, Hartford, CT

 Ernst_ERNST_PIETA

Ernst, Max Pieta or Revolution by Night 1923 Oil on canvas 116 x 89 cm Spies/Metken 624 Tate Gallery, London

 Ernst_ENTRCITY

Ernst, Max The Entire City 1933/36 Oil on canvas 97 x 145 cm Private collection

 Ernst_BRIDE

Ernst, Max The Robing of the Bride 1939 Oil on wood 96 x 130 cm Peggy Guggenheim Collection, Venice

 Ernst_BLINDSWM

Ernst, Max Blind Swimmer (Effect of a Touch) 1934 Oil on canvas 93 x 77 cm Julien Levy Collection, Bridgeport, CT

 Ernst_BEAUTIFUL_SEASON

Ernst, Max The Beautiful Season 1925 Oil on canvas 58 x 108 cm Spies/Merken 951 Private collection

 Ernst_AUGUST_SLEEVE

Ernst, Max The Hundred-headless Woman Opens her August Sleeve 1929 Illustration for "La femme 100 tetes" Collage, 32.7 x 16.9 cm The Menil Collection, Houston

 Ernst_1STCLEAR

Ernst, Max At the First Clear Word 1923 Oil on plaster on canvas Kunstsammlung Nordrhein-Westfalen, Dusseldorf Mural from Paul Eluard's house in Eaubone, later transferred to canvas

 Ernst_VIRGIN_SPANKING

Ernst, Max The Virgin Spanking the Christ Child before Three Witnesses: Andre Breton, Paul Eluard, and the Painter 1926 Oil on canvas 196 x 130 cm Museum Ludwig, Cologne

 Ernst_TEETERING

Ernst, Max The Wavering Woman 1923 Oil on canvas 130.5 x 97.5 cm Kunstsammlung Nordrhein-Westfalen, Dusseldorf

 Ernst_SONG_OF_THE_FLESH

Ernst, Max The Song of the Flesh 1920 Collage with fragments of photographs, gouache and pencil on card 12 x 21 cm Musee National d'Arte Moderne, Centre Georges Pompidou, Paris

 Ernst_SNOWFLWR

Ernst, Max Snow Flowers 1929 Oil on canvas 130 x 130 cm Galerie Beyeler, Basle

 Ernst_SILENCE

Ernst, Max The Eye of Silence 1943/44 Oil on canvas 108 x 141 cm Washington University Art Gallery, Saint Louis, MO

 Ernst_POSTMAN_CHEVAL

Ernst, Max Le facteur Cheval The Postman Cheval 1932 Paper and fabric collage with pencil, ink, and gouache on paper on canvas 17 7/8 x 14 7/8 in. Peggy Guggenheim Collection, Venice

 Ernst_PLEIADS

Ernst, Max Approaching Puberty or The Pleiads 1921 Gouache and oil on paper, all on cardboard 24.5 x 16.5 cm Rene Rasmussen Collection, Paris

 Ernst_OEDIPUS

Ernst, Max Oedipus Rex 1922 Oil on canvas 93 x 102 cm Private collection, Paris

 Ernst_NTINGALE

Ernst, Max Two Children are Threatened by a Nightingale 1924 Oil on wood with wooden elements 69.8 x 57 x 11.4 cm The Museum of Modern Art, New York

 Ernst_MASTERS_BEDROOM

Ernst, Max The Master's Bedroom, It's Worth Spending a Night There 1920 Collage, gouache and pencil on paper 16.3 x 22 cm Private collectio0

 Ernst_JOY_LIVG

Ernst, Max The Joy of Living 1936 Oil on canvas 28 5/8 x 36 in. Private collection, London

 Ernst_INVISIBLE_PIANO

Ernst, Max Saint Cecilia (Invisible Piano) 1923 Oil on canvas 101 x 82 cm Spies/Merken 630 Staatsgalerie, Stuttgart

 Ernst_IMPERATR

Ernst, Max Ubu Imperator 1923 Oil on canvas 100 x 81 cm Helene Anavi Collection, Paulhiac

 Ernst_HAT_MAKES_THE_MAN

Ernst, Max The Hat Makes the Man 1920 Collage, pencil, ink and watercolor on paper 35.6 x 45.7 cm The Museum of Modern Art, New York

 Ernst_FRUITEXP

Ernst, Max Fruit of a Long Experience 1919 Painted wood relief 45.7 x 38 cm Private collection, Geneva

 Ernst_FISHBONE

Ernst, Max Fishbone Forest 1927 Oil on canvas 54 x 65 cm Galerie Beyeler, Basle

 Ernst_EUROPE_AFTER_RAIN

Ernst, Max Europe After the Rain Europa nach dem Regen 1940-42 Oil on canvas 54.8 x 147.8 cm Wadsworth Atheneum, Hartford, CT

 Ernst_ERNST_PIETA

Ernst, Max Pieta or Revolution by Night 1923 Oil on canvas 116 x 89 cm Spies/Metken 624 Tate Gallery, London

 Ernst_ENTRCITY

Ernst, Max The Entire City 1933/36 Oil on canvas 97 x 145 cm Private collection

 Ernst_BRIDE

Ernst, Max The Robing of the Bride 1939 Oil on wood 96 x 130 cm Peggy Guggenheim Collection, Venice

 Ernst_BLINDSWM

Ernst, Max Blind Swimmer (Effect of a Touch) 1934 Oil on canvas 93 x 77 cm Julien Levy Collection, Bridgeport, CT

 Ernst_BEAUTIFUL_SEASON

Ernst, Max The Beautiful Season 1925 Oil on canvas 58 x 108 cm Spies/Merken 951 Private collection

 Ernst_AUGUST_SLEEVE

Ernst, Max The Hundred-headless Woman Opens her August Sleeve 1929 Illustration for "La femme 100 tetes" Collage, 32.7 x 16.9 cm The Menil Collection, Houston

 Ernst_1STCLEAR

Ernst, Max At the First Clear Word 1923 Oil on plaster on canvas Kunstsammlung Nordrhein-Westfalen, Dusseldorf Mural from Paul Eluard's house in Eaubone, later transferred to canvas

ernst_A_Friends'_Reunion/Au_Rendez-vous_des_amis

Ernst

Max Ernst. A Friends' Reunion/Au Rendez-vous des amis. 1922. Oil on canvas. 130 x 95. Museum Ludwig, Cologne, Germany

ernst_Oedipus_Rex

Ernst

Max Ernst. Oedipus Rex. 1922. Oil on canvas. 93 x 102 cm. Private collection

ernst_The_Word_or_Woman-Bird_/_La_Parole_ou_Femme-oiseau

Ernst

Max Ernst. The Word or Woman-Bird / La Parole ou Femme-oiseau. 1921. Collage and gouache on paper. 18.5 x 10.6 cm. Private collection

ernst_Two_Children_are_Threatened_by_a_Nightingale

Ernst

Max Ernst. Two Children are Threatened by a Nightingale. 1924. Oil on wood with wooden elements. 69.8 x 57.1 x 11.4 cm. The Museum of Modern Arts, New York, NY, USA

ernst_Castor_and_Pollution

Ernst

Max Ernst. Castor and Pollution. 1923. Oil on canvas. 73 x 100 cm. Private collection.

_

Ernst

N/A

ernst_The_Equivocal_Woman_(also_known_as_The_Teetering_Woman)

Ernst

Max Ernst. The Equivocal Woman (also known as The Teetering Woman). 1923. Oil on canvas. 1923. 130.5 x 97. 5 cm. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.

ernst__A_Night_of_Love_/_Une_nuit_d'amour

Ernst

Max Ernst. A Night of Love / Une nuit d'amour. 1927. Oil on canvas. 162 x 130 cm. Private collection.

ernst_Cage,_Forest_and_Black_Sun_/_Cage,_forêt_et_soleil_noir

Ernst

Max Ernst. Cage, Forest and Black Sun / Cage, forêt et soleil noir. 1927. Oil on canvas. 114 x 146 cm. Private collection.

ernst_Forest_/_Forêt

Ernst

Max Ernst. Forest / Forêt. 1927. Oil on canvas. 114 x 146 cm. Staatliche Kunsthalle, Karlsruhe, Germany.

ernst_Le_Limaçon_de_chambre

Ernst

Max Ernst. Le Limaçon de chambre. 1920. Tempera, goache, ink, pencil, collage on paper. 31.2 x 22.2 cm. Private collection.

ernst_Birth_of_Zoomorph_Couple_/_Couple_zoomorphe_en_gestation

Ernst

Max Ernst. Birth of Zoomorph Couple / Couple zoomorphe en gestation. 1933. Oil on canvas. 91.5 x 73 cm. The Solomon R. Guggebheim Museum, New York, NY, USA.

ernst_Europe_after_the_Rain_I

Ernst

Max Ernst. Europe after the Rain I. 1933. Oil and gypsum on plywood. 101 x 149 cm. Private collection.

ernst_The_Entire_City/La_Ville_entière

Ernst

Max Ernst. The Entire City/La Ville entière. 1935-37. 97 x 145 cm. Private collection.

ernst_Lone_Tree_and_United_Trees_/_Arbre_solitaire_et_arbres_conjugaux

Ernst

Max Ernst. Lone Tree and United Trees / Arbre solitaire et arbres conjugaux. 1940. Oil on canvas. 81.5 x 100.5 cm. Thyssen-Bornemisza Collection, Madrid, Spain.

ernst_L'Ange_du_foyer_ou_Le_Triomphe_du_surréalisme

Ernst

Max Ernst. L'Ange du foyer ou Le Triomphe du surréalisme. 1937. Oil on canvas. 114 x 146 cm. Private collection

ernst_Of_This_Men_Shall_Know_Nothing

Ernst

Max Ernst. Of This Men Shall Know Nothing. Oil on canvas. 81 x 64 cm. 1923. Tate Gallery, London, UK.

ernst_The_Whole_City

Ernst

Max Ernst. The Whole City. Oil on canvas. 60 x 81 cm. 1935. Kunshaus, Zurich, Switzerland.

ernst_Europe_after_the_Rain_II

Ernst

Max Ernst. Europe after the Rain II. Oil on canvas. 54 x 146 cm. 1940-42. Wadsworth Atheneum, Hartford, CT, USA.

ernst_Forest_and_Dove

Ernst

Max Ernst. Forest and Dove. Oil on canvas. 100 x 82 cm. 1927. Tate Gallery, London, UK.

ernst_The_Robing_of_the_Bride

Ernst

Max Ernst. The Robing of the Bride. Oil on canvas. 130 x 96 cm. 1940. Peggy Guggenheim Collection, Venice, Italy.

ernst_Untitled

Ernst

Max Ernst. Untitled. 1920. Gouache, Chinese ink and pencil on cardboard. 30 x 25 cm. Private collection.

ernst_Fruit_of_a_Long_Experience

Ernst

Max Ernst. Fruit of a Long Experience. 1919. Painted wood relief. 45.7 x 38 cm. Private collection.

ernst_Family_Excursions

Ernst

Max Ernst. Family Excursions. c. 1919. Oil on canvas. 36 x 26 cm. Narodni Gallery, Prague, Czechia.

ernst_Aquis_submersus

Ernst

Max Ernst. Aquis submersus. 1919. oil on canvas. 54 x 43.8 cm. Städelsches Kunstinstitut und Städtische Galerie, Frankfurt-on-Main, Germany.

ernst_The_Gramineous_Bicycle_Garnished_with_Bells_the_Dappled_Fire_Damps_and_the_Echinoderms_Bending_the_Spine_to_Look_for_Caresses

Ernst

Max Ernst. The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses. 1920/21. Gouache on print. 74.3 x 99.7 cm. The Museum of Modern Arts, New York, NY, USA

ernst_Ubu_Imperator

Ernst

Max Ernst. Ubu Imperator. 1923. Oil on canvas. 100 x 81 cm. Private collection

ernst_Birds;_also:_Birds,_Fish-Snake_and_Scarecrow

Ernst

Max Ernst. Birds; also: Birds, Fish-Snake and Scarecrow. c. 1921. Oil on canvas. 58 x 62.8 cm. Staatsgalerie Moderner Kunst, Munich, Germany.

ernst_The_Couple_or_The_Couple_in_Lace

Ernst

Max Ernst. The Couple or The Couple in Lace. 1925. Oil on canvas. 101.5 x 142 cm. Museum Boymans-van Beuningen, Rotterdam, Netherlands.

ernst_Eve,_the_Only_One_Left_to_Us

Ernst

Max Ernst. Eve, the Only One Left to Us. 1925. Oil on plaster on cardboard. 50 x 35 cm. Private collection.

ernst_Seascape

Ernst

Max Ernst. Seascape. 1921. Oil on canvas. 66 x 81 cm. Private collection.

ernst_Fishbone_Forest

Ernst

Max Ernst. Fishbone Forest. 1927. Oil on canvas. 54 x 65 cm. Private collection.

ernst_The_Small_Fistule_That_Says_Tic_Tac_/_La_petite_fistule_lacrimale_qui_dit_tic_tac

Ernst

Max Ernst. The Small Fistule That Says Tic Tac / La petite fistule lacrimale qui dit tic tac. 1920. Gouache on paper. 36.2 x 24.5 cm. The Museum of Modern Arts, New York, NY, USA

ernst_Vision_Induced_by_the_Nocturnal_Aspect_of_the_Porte_St

Ernst

Max Ernst. Vision Induced by the Nocturnal Aspect of the Porte St. Denis. 1927. Oil on canvas. 66 x 82 cm. Private collection

ernst_After_Us_Motherhood

Ernst

Max Ernst. After Us Motherhood. 1927. Oil on canvas. 146.5 x 114.5 cm. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.

ernst_Loplop_Introduces_a_Young_Girl

Ernst

Max Ernst. Loplop Introduces a Young Girl. 1930. Oil, plaster and various materials on wood. 195 x 89 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.

ernst_Loplop_Introduces_Loplop

Ernst

Max Ernst. Loplop Introduces Loplop. 1930. Oil and various materials on wood. 100 x 180 cm. Private collection.

ernst_Snow_Flowers

Ernst

Max Ernst. Snow Flowers. 1929. Oil on canvas. 130 x 130 cm. Private collection.

ernst_Human_Form

Ernst

Max Ernst. Human Form. 1931. Oil and plaster on wood. 183 x 100 cm. Moderna Museet, Stockholm, Sweden.

ernst_Landscape_with_Wheatgerm

Ernst

Max Ernst. Landscape with Wheatgerm. 1936. Oil on canvas. 150.5 x 162.5 cm. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.

ernst_The_Angel_of_Hearth_and_Home

Ernst

Max Ernst. The Angel of Hearth and Home. 1937. Oil on canvas. 53 x 73 cm. Staatsgalerie Moderner Kunst, Munich, Germany.

ernst_Day_and_Night

Ernst

Max Ernst. Day and Night. 1941/42. Oil on canvas. 112 x 146 cm. Private collection

ernst_Surrealism_and_Painting

Ernst

Max Ernst. Surrealism and Painting. 1942. Oil on canvas. 195 x 233 cm. Private collection.

ernst_The_Fall_of_an_Angel_/_La_Chute_d'un_ange

Ernst

Max Ernst. The Fall of an Angel / La Chute d'un ange. Collage and oil on paper. 44 x 34 cm. Private collection.

ernst_Vox_Angelica

Ernst

Max Ernst. Vox Angelica. 1945. Oil on canvas. 152 x 205 cm. Private collection.

ernst_Painting_for_Young_People

Ernst

Max Ernst. Painting for Young People. 1943. Oil on canvas. 60 x 75 cm. Private collection.

ernst_The_Eye_of_Silence

Ernst

Max Ernst. The Eye of Silence. 1943/44. Oil on canvas. 108 x 141 cm. Washington University Art Gallery, Saint Louis, MO, USA.

ernst_The_Temptation_of_St

Ernst

Max Ernst. The Temptation of St. Anthony. 1945. Oil on canvas. 108 x 128 cm. Wilhelm-Lehmbruck-Museum, Duisburg, Germany.

ernst_The_Phases_of_the_Night

Ernst

Max Ernst. The Phases of the Night. 1946. Oil on canvas. 91.5 x 162.5 cm. Private collection.

ernst_Design_in_Nature

Ernst

Max Ernst. Design in Nature. 1947. Oil on canvas. 50.8 x 66.7 cm. Private collection.

ernst_Feast_of_the_God

Ernst

Max Ernst. Feast of the God. 1948. Oil on canvas. 155 x 107 cm. Museum des 20.Jahrhunderts, Vienna, Austria.

ernst_Colorado_of_Medusa,_Color-Raft_of_Medusa

Ernst

Max Ernst. Colorado of Medusa, Color-Raft of Medusa. 1953. Oil on canvas. 75 x 92 cm. Private collection.

ernst_The_Garden_of_France

Ernst

Max Ernst. The Garden of France. 1962. Oil on canvas. 114 x 168 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.

ernst_A_Swallow's_Nest

Ernst

Max Ernst. A Swallow's Nest. 1966. Oil on canvas. 134 x 168 cm. Private collection.

ernst_Un_peu_malade_le_cheval_patte_pelu

Ernst

Max Ernst. Un peu malade le cheval patte pelu... 1920. Collage and gouache on paper mounted on cardboard. 16 x 23 cm. GAM - Galleria Civica d'arte Moderna e Contemporanea, Turin, Italy

ernst_Sign_for_a_School_of_Monsters

Ernst

Max Ernst. Sign for a School of Monsters. 1968. Oil on canvas. 88 x 115 cm. Private collection

ernst_Young_Chimera_/_Jeune_chimère

Ernst

Max Ernst. Young Chimera / Jeune chimère. 1921. Collage, gouache and Chinese ink on paper. 29 x 9 cm. Private collection.

_

Ernsta

N/A

ernst_Célèbes_or_Elephant_Célèbes

Ernst

Max Ernst. Célèbes or Elephant Célèbes. 1921. Oil on canvas. 125.4 x 107.9 cm. Tate Gallery, London, UK.