Art by Medium: Stencil

Hand-Finished with acrylic spray paint on Moab Entrada Bright 290 gsm paper Edition size: 12 Signed & Numbered with a Certificate of Authenticity Size: 18 x 24

Hand-Finished with acrylic spray paint on Moab Entrada Bright 290 gsm paper Edition size: 1/1 Signed & Numbered with a Certificate of Authenticity

Hand-Finished with acrylic spray paint on Moab Entrada Bright 290 gsm paper Edition size: 1/1 Signed & Numbered with a Certificate of Authenticity

Hand-Finished with acrylic spray paint on Moab Entrada Bright 290 gsm paper Edition size: 1/1 Signed & Numbered with a Certificate of Authenticity

Max Ernst (after) - Blue Bird - Stencil Published in the deluxe art review, XXe Siecle, 1958 Dimensions: 32 x 25 cm Publisher: G. di San Lazzaro. Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...

Christophe Stouvenel has the talent to hunt beautiful things and turn them into beautiful artworks. He then signs a new collection from vintage cards he has dressed (or rather undressed) pin up 50...

YOU CAN ALWAYS SCRATCH YOURSELF 002 In the Collection "You can always scratch yourself" The staging of the character of the French Games launcher for delirious works. Here it say...

Freedom is probably what characterizes the most "Kiki" or Christophe Stouvenel: collage, acrylic, aerosol can, on signs, old posters recovered or even a fo...

Artist's comment: "This painting symbolizes the "No Surrender" in the face of terrorist attacks If these last ones make thousands of deaths, they do not come to end of our unconscious "and collective and archaic" which believes in the vigilantes, in the super-heroes, these mutants which we protect. Cat Woman, "right in her boots", certainly looks to the left, the past that she integrates but also to the right, a future that she will make better. The predominance of "green" and the fact that there are more "white runs" than "black runs" brings just what we need: hope. Twin Towers...

Ice Spots - 2017 KIKI "has a predilection for the use of supports and mediums resulting from urban art: it combines stencil work, staging and collage of torn posters, the misappropri...

Why - Blue Version - 2018 KIKI "has a predilection for the use of supports and mediums resulting from urban art: it combines stencil work, staging and collage of torn posters, the mi...

Frank Stella Nemrik, from the Near East Series, 1999 is a chaotically vibrant work that encapsulates Stella’s abstract style so poignantly. Using a mix of bright, neon colors, Stella...

"Free and Clear" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can see h...

"The Future is Now" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can se...

"Feeling Good" is a collage painting on canvas by LA-based street artist Amy Smith. She is best known for her empowering images of women and motivational text pieces. You can see her...

Pochoir printed in colours, 1947. From: Jazz, Plate VI. From the book edition of 270. Printed on Arches paper by Edmond Vairel, Paris. Published by Teriade, Paris. (Duthuit Livre...