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Jimmy Ernst
“Abstract in Colors, 1952”

1952

$2,800
£2,113.08
€2,419.16
CA$3,948.93
A$4,335.43
CHF 2,261.80
MX$52,464.75
NOK 28,348.20
SEK 26,711.45
DKK 18,058.39

About the Item

Original gouache on archival paper by the well known American artist, Jimmy Ernst. Signed lower right and dated 1952. Condition is excellent. Strong, vibrant colors, no issues. White metal custom gallery frame. Nicely matted. Overall framed measurements are 13.5 by 11.5 inches. Provenance: A New York City estate. Jimmy Ernst Born in Cologne, Germany, to art historian and journalist Louise Straus-Ernst and prominent Dada and Surrealist artist Max Ernst, Jimmy Ernst was in his early years intrigued by the art world but turned firmly against an artistic profession out of resentment for his father. His parents separated early in Jimmy’s childhood, and Max left his son for a new life in Paris. In adolescence Jimmy visited his father and new wife, who entertained key artistic figures such as Alberto Giacometti, Man Ray, Victor Brauner, Joan Miró, André Masson, René Clair, Yves Tanguy, Salvador Dalí, and Louis Buñel. Ernst was privy to an exclusive screening of Buñel’s film L’Âge d’Or, and his father provided his first exposure to American jazz. In Cologne, Ernst had taken great interest in Gothic architecture and the stained glass of local churches, and was taught by his mother about Matthias Grünewald’s 1515 Isenheim Altarpiece. During his time in Paris, curiosity for the work of his father awoke, and he began to closely observe him at work in his studio. With the rise of the Nazi regime, Louise Straus-Ernst faced investigation as a Jew and well-known intellectual, and she soon relocated to Paris for work. Jimmy began an apprenticeship in typography with the J.J. Augustin printing firm in Glückstadt while attending the Altona School of Arts and Crafts. His instruction in school, however, remained confined to mechanical work such as typesetting. Two years later, his artistic revelation occurred when he encountered Picasso’s Guernica at the Paris World Exposition. Ernst later recalled, “Suddenly, I was not at all certain that painting did not have the potential of transforming an external event or idea into attestation of one human being’s universality.” [1] Together with the Grünewald altarpiece that influenced Picasso, Guernica inspired Ernst with the communicative powers of art, and he resolved to become an artist himself. In 1938 Ernst departed Germany one week prior to Kristallnacht. He arrived in New York on June 9th and entered the care of his sponsor J.J. Augustin, who briefly employed him in his publishing company’s New York branch. While working menial jobs, Ernst explored his interest in modern art and became a frequent visitor at Julien Levy’s gallery at 15 East Fifty-seventh Street, where Max Ernst and many in his circle exhibited. His acquaintance with Levy soon helped him into a job at the Museum of Modern Art’s Film Library. Once again immersed in the world of the avant-gardes, he associated with artists such as Carl Holty and Joseph Cornell and became reacquainted with Surrealist and modernist émigrés. As Ernst worked to secure travel to America for his parents, he began to produce paintings using leftover mailroom cardboard and poster paints, moving next to oils and prints made from linoleum tile. Max Ernst arrived in New York in 1941 accompanied by Peggy Guggenheim, who he later married to avoid deportation. Jimmy took up a position as Guggenheim’s secretary-assistant, responsible for keeping track of her art collection. A year later, he was appointed director of Guggenheim’s newly opened Art of This Century Gallery. Ernst moved on to open the Norlyst Gallery in New York City in partnership with art dealer and painter Elenore Lust, using the space to host his first solo exhibition. His artwork at this time was heavily influenced by Surrealism, but Ernst took special interest in the unorthodox directions of Roberto Matta, Arshile Gorky, William Baziotes, and others. Ernst found these artists to be heavily motivated by an interest in gesture and the act of painting, rather than the theoretical discussions that preoccupied the older generation of Surrealists. He developed a close friendship with Baziotes, and spent time in Matta’s studio studying automatism along with young and experimenting painters such as Jackson Pollock. Ernst’s love of jazz music also bound him to this younger generation of artists, and he eventually produced works that for him explored the connections between music and painting through the inspiration of players such as Montana Taylor. In 1945 Ernst learned of the death of his mother, who had been transported from a detention camp near Paris to the Auschwitz concentration camp in the summer of 1944. After receiving the news Ernst traveled to Amagansett, New York, where his father was living among other Surrealists. He moved with Max and his mistress Dorothea Tanning to Sedona, Arizona, and in the following year married Warner Brothers talent scout Edith Dallas Bauman Brody. Ernst held a job at Warner Brothers as an assistant to the art director of advertising through 1951, but he remained heavily involved with the New York avant-garde scene. In 1950, he participated in the “Artists’ Sessions at Studio 35,” and joined the “Irascible Eighteen” in protest of the Metropolitan Museum of Art’s bias against abstraction. A balance of life, work, and art continued as Ernst took up teaching jobs at the Pratt Institute and Brooklyn College, completed various visiting artist positions, produced sculptures for television shows, published articles for College Art Journal and Art in America, and became a U.S. citizen and father of two. Ernst returned to Germany in 1961 after receiving a prestigious John Simon Guggenheim Memorial Fellowship. He traveled throughout Europe and participated in the U.S. Department of State’s Cultural Exchange Program in the Soviet Union. In 1967, he received an Andrew Carnegie Foundation grant for a study and report on “Freedom of Expression in the Arts, ” completed for UNESCO. Ernst continued to paint and exhibit widely, and in 1983 became a member of the American Academy and Institute of Arts and Letters, New York. His autobiography, which detailed his early years and relationship with his famous father, was published in 1984. That same year, on February 6th, he passed away in New York. Ernst’s lifelong investigation into the meaning and power of art produced dynamic and vigorous works, as captivating for their exultation of his influences as for their reflection of the extraordinary life of the artist. Written by Zenobia Grant Wingate Footnotes: [1] Jimmy Ernst, A Not-So-Still Life, 87. CHRONOLOGY 1920 Born June 24, Hans-Ulrich Ernst in the Kaiser-Willhelm Ring, Cologne, Germany 1922 Parents separated, Jimmy stays with mother 1933 Mother investigated by new Nazi regime, and leaves for Paris to find work; Ernst lives with maternal grandfather, visits Paris twice a year 1935 Apprenticeship as typographer with J.J.Augustin printing firm in Glückstadt; studied graphic arts at Altona School of Arts and Crafts 1938 Departed Germany one week prior to Kristallnacht; worked in NY branch of J.J. Augustin Publishers 1939 Hired by Museum of Modern Art for work in mailroom and Film Library 1941 Worked as Peggy Guggenheim’s secretary-assistant 1942 Appointed director of Peggy Guggenheim’s Art of This Century Gallery 1943 First solo exhibition at Norlyst Gallery 1944 Mother killed in Auschwitz concentration camp 1945-1951 Art director assistant at Warner Brothers 1947 Married Edith Dallas Bauman Brody 1948-1950 Taught evening classes in painting at the Pratt Institute, Brooklyn 1950 Joined “Irascible Eighteen” 1951 Taught in the Department of Design at Brooklyn College 1952 Moved to South Norwalk, Connecticut; became U.S. citizen 1953 Birth of daughter Amy Louise 1954 & 1956 Visiting artist position at University of Colorado, Boulder 1955 Visiting artist position at Yale University 1956 Artist-in-residence at Museum of Fine Arts, Houston; birth of son Eric Max 1961 John Simon Guggenheim Memorial Fellowship 1963 Appointed full professor at Brooklyn College 1965 Artist-in-residence, Norton Gallery and School of Art, West Palm Beach, Florida 1966 Visiting artist at the Des Moines Art Center 1969 Moved to East Hampton, Long Island 1976 Death of father, Max Ernst 1980 Built winter home and studio in Nokomis, Florida 1982 Awarded honorary Doctorate from the Southampton College of Long Island University 1983 Elected to membership in the American Academy and Institute of Arts and Letters, New York 1984 Published autobiography A Not-So-Still Life Died in New York, February 6 AWARDS 1949 Juliana Force Memorial Award, purchase prize Personal History 1954 Norman Weil Harris Prize (Bronze Medal), Art Institute of Chicago 1957 Brandeis University Creative Arts Award for painting, first recipient with Stuart Davis SOLO EXHIBITIONS 1948 Laurel Gallery, NY 1950 Robert Carlens Gallery, Philadelphia 1951 Grace Borgenicht Gallery, NY 1953 Obelisk Gallery, Washington, D.C. 1954 Walker Art Center, Minneapolis 1955 Silvermine Guild of Artists, Norwalk, CT 1956 Philadelphia Art Alliance Museum of Fine Arts, Houston 1957 Art on the Campus, Brandeis University, Waltham, MA 1962 Obelisk Gallery, Washington, D.C. 1963 Kölnischer Kunstverein, Cologne, Germany 1963 Detroit Institute of Arts 1965 Städtisches Kunsthaus, Bielefeld, Germany Amerika Haus, Berlin, Germany Pennsylvania Academy of the Fine Arts, PA Norton Gallery and School of Art, West Palm Beach, FL 1966 Des Moines Art Center 1968 Arts Club of Chicago 1970 Guild Hall Museum, East Hampton, NY 1972 Galerie Lucie Weill, Paris 1974 Riva Yares Gallery, Scottsdale, AZ 1981 Harmon Gallery, Naples, FL 1984 Armstrong Gallery, NY 1985 Guild Hall Museum, East Hampton, NY 1986 Century Club, NY Galerie am Schloss in Ausstellung der Stadt, Brühl, Germany 1987 Retrospective; Harmon-Meek Gallery, Naples, FL Corbine Gallery, Sarasota, FL 1988 The Forgotten Mural, Hofstra Museum, Hempstead, NY 1988 Univeristy of Wisconsin, Oshkosh 1994 Trials of Silence, Tampa Museum of Art, Florida 1997 Shadow to Light, Sardoni Art Gallery, Wilkes-Barre, PA 1998 The Sea of Grass Series and Beyond, Museum of Fine Arts, St. Petersburg, FL 1999 Sprengel Museum, Hanover, Germany
  • Creator:
    Jimmy Ernst (1920-1984, American, German)
  • Creation Year:
    1952
  • Dimensions:
    Height: 7.75 in (19.69 cm)Width: 6 in (15.24 cm)Depth: 1 in (2.54 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Southampton, NY
  • Reference Number:
    1stDibs: LU14116940162

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