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(after) Max Ernstpochoir1958
1958
About the Item
Medium: pochoir. Printed at the atelier of Daniel Jacomet in 1958 for the art revue XXe Siecle (issue number 10) published in Paris by San Lazzaro. Size: 12 3/8 x 9 1/2 inches (315 x 242 mm). Not signed.
Condition: there is a bump to the top right corner of the sheet.
- Creator:(after) Max Ernst (1891 - 1976, German)
- Creation Year:1958
- Dimensions:Height: 12.41 in (31.5 cm)Width: 9.53 in (24.2 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Condition: there is a bump to the top right corner of the sheet.
- Gallery Location:Henderson, NV
- Reference Number:1stDibs: LU2365216074182
(after) Max Ernst
Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor artist and poet. Ernst, living through two World Wars along with other artists who forever transformed the possibilities of human expression, was one of the founding fathers for the (Cologne) Dada and Surrealist movements. After the German occupation of France in WWII, Ernst was arrested by the Gestapo as an "undesirable foreigner" but managed to escape and flee to America with the help of Peggy Guggenheim and friend journalist Varian Fry. Ernst and Peggy Guggenheim arrived in the United States in 1941 and were married at the end of the year. Along with other artists and friends (Marcel Duchamp and Marc Chagall) who had fled from the war and lived in New York City, Ernst helped inspire the development of Abstract expressionism. His marriage to Guggenheim did not last and in Beverly Hills, California in October 1946, in a double ceremony with Man Ray and Juliet P. Browner, he married Dorothea Tanning. For Ernst there was always an emphasis on ceaseless experimentation. He began his pursuit of radical new techniques that went "beyond painting" to articulate the irrational and unexplainable in the wake of World Wars I and II. His unconventional methods experiment with free association writing and the techniques of frottage, created from a rubbing from a textured surface; grattage, involving scratching at the surface of a painting; and decalcomania, which involves altering a wet painting by pressing a second surface against it and taking it away.
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