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Max Ernst (1891–1976)

Forfatter af Une Semaine De Bonte: A Surrealistic Novel in Collage

110+ Værker 1,389 Medlemmer 15 Anmeldelser 6 Favorited

Om forfatteren

Omfatter også følgende navne: Max Ernst, Max Ernst, マックス エルンスト

Værker af Max Ernst

Une Semaine De Bonte: A Surrealistic Novel in Collage (1934) 622 eksemplarer, 9 anmeldelser
Hundred Headless Woman (1981) 116 eksemplarer, 3 anmeldelser
A Little Girl Dreams of Taking the Veil (1971) 84 eksemplarer, 1 anmeldelse
Max Ernst: A Retrospective (1975) 58 eksemplarer, 1 anmeldelse
Ernst (1975) 52 eksemplarer
Max Ernst: A Retrospective (1975) 26 eksemplarer
Max Ernst (1977) 24 eksemplarer
Max Ernst (1977) — Illustrator — 21 eksemplarer
Beyond painting (1948) 21 eksemplarer
Max Ernst (1969) 16 eksemplarer
Max Ernst Retrospective (2013) 15 eksemplarer
Inside the sight (1987) 11 eksemplarer
Tres novelas en imágenes (2008) 9 eksemplarer
Max Ernst Oeuvre-Katalog (1975) 7 eksemplarer
Max Ernst : A Private World View (2003) 7 eksemplarer
Histoire Naturelle (1972) 5 eksemplarer
Max Ernst, Graphik und Bücher (1991) 5 eksemplarer
Homage to Max Ernst (1971) 5 eksemplarer
Max Ernst (1981) 4 eksemplarer
Ode à Gala Incognita 4 eksemplarer
Écritures (1970) 4 eksemplarer, 1 anmeldelse
Max Ernst. Dadamax (1979) 3 eksemplarer
Misfortunes of the Immortals (1943) 2 eksemplarer
Paramyter (2010) 2 eksemplarer
Max Ernst: The Late Lithographs (1989) 2 eksemplarer
Le Néant et son double (1968) 2 eksemplarer
Max Ernst (1978) 1 eksemplar
Max Ernst 1 eksemplar
Max Ernst (Modern artists) (1968) 1 eksemplar
Paintings (1969) 1 eksemplar
Fishbone flower 1 eksemplar
Lieux communs 1 eksemplar
Art of this Century 1 eksemplar
Max Ernst 1 eksemplar

Associated Works

The Doors of Perception / Heaven and Hell (1954) — Omslagsfotograf/tegner/..., nogle udgaver4,591 eksemplarer, 46 anmeldelser
Krystalverdenen (1966) — Omslagsfotograf/tegner/..., nogle udgaver1,217 eksemplarer, 25 anmeldelser
Theories of Modern Art: A Source Book by Artists and Critics (1968) — Bidragyder — 761 eksemplarer, 5 anmeldelser
The Ubu Plays (1962) — Omslagsfotograf/tegner/..., nogle udgaver595 eksemplarer, 9 anmeldelser
Misogynies (1989) — Omslagsfotograf/tegner/..., nogle udgaver218 eksemplarer, 2 anmeldelser
Babylon (1927) — Illustrator, nogle udgaver147 eksemplarer, 1 anmeldelse
Art of the Surrealists (1995) — Illustrator — 111 eksemplarer, 3 anmeldelser
Surrealist Painters and Poets: An Anthology (2001) — Bidragyder — 68 eksemplarer
Science Fiction (1973) — Artwork — 40 eksemplarer, 1 anmeldelse
L'âge d'or [1930 film] (1930) — Actor — 31 eksemplarer
Max Ernst (1972) 24 eksemplarer
Max Ernst: Dream and Revolution (2008)nogle udgaver13 eksemplarer
Where or When (2005) 9 eksemplarer
Leonora Carrington: la mariée du vent (2008) — Forfatter — 6 eksemplarer

Satte nøgleord på

Almen Viden

Juridisk navn
Ernst, Max
Cimetière du Père-Lachaise, Paris, France
Plot: Columbarium (Division 87)
Germany (birth)
Brühl, Germany
Paris, France
Brühl, Germany
Paris, France
Marseille, France
New York, New York, USA
Sedona, Arizona, USA
Saint-Martin-d'Ardèche, France
University of Bonn
Graphic Artist
Guggenheim, Peggy (spouse)
Fry, Varian (rescue network)
Carrington, Leonora (lover)
Tanning, Dorothea (spouse)
Ernst, Jimmy (son)
Straus, Luise (spouse)
American Academy of Arts and Letters (Foreign Honorary, Art, 1974)
Kort biografi
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.



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



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