Max Ernst

Max Ernst was born in Brühl, near Cologne, the third of nine children of a middle-class Catholic family. His father Philipp was a teacher of the deaf and an amateur painter, a devout Christian and a strict disciplinarian. He inspired in Max a penchant for defying authority, while his interest in painting and sketching in nature influenced Max to take up painting himself.[1] In 1909 Ernst enrolled in the University of Bonn, studying philosophy, art history, literature, psychology and psychiatry. He visited asylums and became fascinated with the art of the mentally ill patients; he also started painting that year, producing sketches in the garden of the Brühl castle, and portraits of his sister and himself. In 1911 Ernst befriended August Macke and joined his Die Rheinischen Expressionisten group of artists, deciding to become an artist. In 1912 he visited the Sonderbund exhibition in Cologne, where works by Pablo Picasso and post-Impressionists such as Vincent van Gogh and Paul Gauguin profoundly influenced his approach to art. His own work was exhibited the same year together with that of the Das Junge Rheinland group, at Galerie Feldman in Cologne, and then in several group exhibitions in 1913.[1] In 1914 Ernst met Hans Arp in Cologne. The two soon became friends and their relationship lasted for fifty years. After Ernst completed his studies in the summer, his life was interrupted by World War I. Ernst was drafted and served both on the Western and the Eastern front. Such was the devastating effect of the war on the artist that in his autobiography he referred to his time in the army thus: "On the first of August 1914 M[ax].E[rnst]. died. He was resurrected on the eleventh of November 1918."[2] However, for a brief period on the Western Front, Ernst was assigned to chart maps, which allowed him to continue painting.[1] Several German Expressionist painters died in action during the war, among them Macke and Franz Marc. Dada and surrealism[edit] Max Ernst, Ubu Imperator, (1923), Musee National d'Art Moderne, Centre Pompidou, Paris, France Ernst was demobilized in 1918 and returned to Cologne. He soon married art history student Luise Straus, whom he had met in 1914. In 1919, Ernst visited Paul Klee in Munich and studied paintings by Giorgio de Chirico, which deeply impressed him. The same year, inspired partly by de Chirico and partly by studying mail-order catalogues, teaching-aide manuals, and similar sources, he produced his first collages (notably Fiat modes, a portfolio of lithographs), a technique which would come to dominate his artistic pursuits in the years to come. Also in 1919 Ernst, social activist Johannes Theodor Baargeld, and several colleagues founded the Cologne Dada group. In 1919–20 Ernst and Baargeld published various short-lived magazines such as Der Strom and die schammade, and organized Dada exhibitions.[1] Ernst and Luise's son Ulrich 'Jimmy' Ernst was born on 24 June 1920;[1] he also became a painter. Ernst's marriage to Luise was short-lived. In 1921 he met Paul Éluard, who became a close lifelong friend. Éluard bought two of Ernst's paintings (Celebes and Oedipus Rex) and selected six collages to illustrate his poetry collection Répétitions. A year later the two collaborated on Les malheurs des immortels, and then with André Breton, whom Ernst met in 1921, on the magazine Litterature. In 1922, unable to secure the necessary papers, Ernst entered France illegally and settled into a ménage à trois with Éluard and his wife Gala in Paris suburb Saint-Brice, leaving behind his wife and son.[1] During his first two years in Paris Ernst took various odd jobs to make a living and continued to paint. In 1923 the Éluards moved to a new home in Eaubonne, near Paris, where Ernst painted numerous murals. The same year his works were exhibited at Salon des Indépendants.[1]
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Title: Histoire Naturelle

Artist: Max Ernst

Prominent surrealist and Dada artist Ernst developed the “frottage” technique to explore a subconscious form of representation, taking rubbings on paper against rough surfaces such a wooden floorboards, stone or even crusts of bread in an automotive manner, then developing the captured textural pattern into fuller, mostly subtly surreal figural, schematic or geographic images. The 23 collotypes in this portfolio were first executed in simple charcoal, the reproductions transferred to firmly fix the depth of detail in which Ernst discovered his objects. 1926; 23 collotypes in a portfolio; Signed and numbered 199/300; 19 1/2" x 12 5/8" (sheet, each); Provenance: Collection of Lydia Winston Malbin; By descent to present owner

Title: Jacques Prevert, Les Chiens ont Soif

Artist: Max Ernst

26 lithographs in colors and 2 signed etchings in colors in a portfolio; From an edition of 300; Lithographs: 17" x 12" (sheet, each); Etchings: 13" x 8 1/2" (plate, each), 17" x 12" (sheet, each); Publisher: Au Pont Des Arts, Paris; Literature: Spies & Leppien 98.II & III and A9; Provenance: Collection of Lydia Winston Malbin; By descent to present owner