Surrealism. MAX ERNST (1. Une Semaine de Bont. As Surrealism was originally formed as a literary movement, one of the problems for artists was to find Surrealist processes that were specific to the visual arts and not simply adaptations of literary techniques. Collage and photomontage had already been used to dramatic effect by Ernst when he was a member of the Cologne Dadaists. In the context of Surrealism it proved to be the perfect medium to awaken what Ernst called 'the most powerful poetic detonations'. The images in these novels were cut and pasted from an assortment of popular scientific and literary publications. Cuttings from the likes of Gustave Dor. They represented the repressive Victorian/Edwardian era of his childhood and his collage books were a provocative assault on its authoritarian society. To enhance the subversive power of his imagery, Ernst had each collage recreated as a line engraving to make them look more like authentic illustrations of the time. He would use these as an imaginative source of imagery by staring at them to discover the extraordinary surrealistic creatures and landscapes that lay hidden within. Frottage(from the French, 'frotter' meaning 'to rub') was the technique of taking a rubbing from a textured surface, like the childhood pastime of creating an image of a coin by covering it with a sheet of paper and rubbing with a pencil. Grattage(from the French, 'gratter' meaning 'to scratch') was another 'automatic' technique that explored the after- effects of scraping wet paint from the surface of a canvas. Artist Profile: Joan Miro (Note: There should be an accent over the 'o' in Miro). Please note that www.PabloPicasso.org is a private website, unaffiliated with Pablo Picasso or his representatives. MAX ERNST (1. 89. Europe after the Rain II, 1. Decalcomania: Oil on Canvas)Decalcomania was one of Ernst's more dynamic techniques. This effect is clearly illustrated in his painting of 'Europe after the Rain II'. Its elaborate surface was created by pressing fluid paint between two sheets of canvas and peeling them apart to reveal a luxuriant texture. Once he had unearthed some recognizable figures that formed a subliminal narrative, he would enhance their details manually. I made the choice carefully. I guess that is the best word, though polemically also comes to mind. The decision arose, not from any absence of. Finally he would edit the overall composition by painting out the negative shape of sky to liberate the 'unconscious' image that was hidden within its entangled form. MAX ERNST (1. 89. Detail of Europe after the Rain II, 1. Decalcomania: Oil on Canvas)'Europe after the Rain II' is Max Ernst's scathing commentary on World War Two in Europe. It is an apocalyptic vision of the aftermath of war; a scorched world of rotting remains that are inhabited by the deformed shapes of man and beast. A woman with her back to us stares longingly at the distant horizon grieving for her lost world, her calcified body eternally anchored to this barbarous terrain. A sentry wearing a bird mask helmet and holding a spear stands guard beside her, an ironic symbol of the 'great European New Order' that Hitler proclaimed in a speech of January 1. Berlin Sportpalast. Ernst experienced the devastation and futility of war having served on both the Western and Eastern fronts in World War One. In his autobiography he dealt succinctly with these harrowing events, 'On the first of August 1. M E died. He was resurrected on the eleventh of November 1. All that remains is a ravaged world and a scarred humanity whose new guardian now wears a different mask. When interviewed about the relationship between dreams and reality in his work and the strangeness of the images he produced, Ernst replied . Who made world history? Not the most reasonable people, the madmen did... Through one madness we oppose another madness. Joan Mitchell Most Important Art. The Liver is the Cock's Comb (1. Artist: Arshile Gorky. Artwork description & Analysis: Though abstract to a great degree, this work nevertheless reveals Gorky's fondness for organic forms loosely based in nature and the sumptuous colors that would prove to be essential to his mature style. The work of Pablo Picasso and Wassily Kandinsky, as well as that of Joan Miro and Roberto Matta (who in 1. Gorky use more turpentine to loosen up the paint) provided strong influences on Gorky's painting practice. In 1. 94. 5, Andre Breton, the author of the 1. Surrealist Manifesto, praised this painting for its combination of nature and reality, filtered through memory and feeling. The scholar Harry Rand has discussed the content of this picture at length, pointing out the rooster- headed figure with the feathered groin at the right as the vain fool. Rand explains that the liver was once thought of as the seat of the passions (love and lust), thus punning on the .
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