AnyBook4Less.com	Find the Best Price on the Web Order from a Major Online Bookstore
Home  |  Store List  |  FAQ  |  Contact Us  |
Ultimate Book Price Comparison Engine Save Your Time And Money Keyword AuthorISBN

Title: Max Ernst: Sculptures, maisons, paysages by Werner Spies, Fabrice Hergott, Max Ernst, Musée national d'art moderne/Centre de création, Kunstsammlung Nordrhein-Westfalen de Dusseldorf ISBN: 2-85850-982-4 Publisher: Editions du Centre Pompidou Pub. Date: 28 May, 1998 Format: Hardcover Volumes: 1

Your Country USA Canada United Kingdom Australia Austria Belgium France Germany Italy Netherlands Switzerland Currency AutoUSD CAD GBP EUR AUD CHF Delivery Only cheapest delivery All delivery options Include Used Books Are you a club member of: Barnes and Noble Books A Million Chapters.Indigo.ca

Average Customer Rating: 4 (1 review)

Rating: 4
Summary: the lesser known Dali
Comment: In his text, Ulrich Bischoff proposes that Max Ernst had earned the right to be known as the leading exponant of Surrealist art of the 1940's and 50's, but since Salvador Dali knew how to present himself in society to greater effect, he inherited the title. Whatever one thnks of Dali's skill as a publicist, his work is different to Ernst's in one sense - Ernst's most potent paintings were done before he came to the U.S. It's interesting to theorise that it was because Ernst was harassed by the Nazis when they invaded France where the German Ernst lived, that he created the decalcomonia technique which decorates what I think are his greatest works - Joy of Life, The Robing of the Bride, Marlene, Europe after the Rain, Day and Night, The Eye of Silence and The Temptation of St. Anthony. This technique of applying the paint to the canvas by pressing it against a flat surface, gives the result a mossy, furry or marshy appearance. This coupled with Ernst's penchance for grotesque mythological figures would have aligned him with Jewish and other non-naturalistic artists considered decadent and perverse by the Third Reich's aesthetic. What makes Bischoff's collection of Ernst's paintings interesting is the evolution of Ernst's style, which would lead him to the decalcomania. As early as 1919 in Family Excursion one sees Ernst's sombre air. I also like The Master's Bedroom, It is worth spending a night in of 1920, done in his Dada period, with the symbolism of the animals, as evidence of Ernst's interest in Freud; the grattage works Vision Induced by the Nocturnal Aspect of the Porte St Denis 1927 and The Horde 1927; and the alien-like Human Form 1931. Even his most celebrated (and personally I think overrated) work, the biblical The Entire City 1935/36 is a prelude to the later beauty, wit and eroticism. Ernst's post- decalcomanic work seems to present him as more restful, perhaps not the best state for an artist. The images are pretty but the soul is at peace. Of note is the 1942 Surrealism and Painting, where he used what Jackson Pollock would later call "dripping".