Artists & Brands

ERNST Max

image Germany
1891 - 1976
3 lots
image ERNST Max

Max Ernst (1891–1976) was a German-born artist and one of the most influential figures in Surrealism and Dada. Born in Brühl, Germany, he studied philosophy and psychology before turning to art, experiences that later shaped his fascination with dreams, the unconscious, and irrational imagery. After serving in World War I, Ernst became a founding member of the Cologne Dada group. In the 1920s, he moved to Paris and joined the Surrealists, developing innovative techniques such as frottage (rubbing textures onto paper), grattage (scraping paint), and decalcomania. These methods allowed chance and subconscious processes to guide his work, producing strange, dreamlike landscapes and hybrid creatures. Ernst’s art often combines precise detail with fantastical elements, challenging traditional perceptions of reality. His recurring motifs include birds, forests, and mysterious figures, reflecting his personal symbolism. With the outbreak of World War II, Ernst emigrated to the United States, where he influenced the emerging Abstract Expressionist movement. He later returned to Europe, settling in France. Over his long career, he worked in painting, sculpture, collage, and printmaking. Today, Max Ernst is celebrated as a pioneer who expanded the boundaries of artistic imagination and experimental technique.

image Ohne Titel (This Means Happy Nights)
Ohne Titel (This Means Happy Nights)
Painting1946
Sold For
$52,920
May 2022MAX ERNST (1891-1976)| Ohne Titel (This Means Happy Nights) | signed and inscribed 'this means happy nights. max.' (lower right); signed again and dated 'Max Ernst 1946' (on the reverse)| blue ink on paper| 7 1⁄4 x 7 1⁄2 in. (18.4 x 19 cm.)| Executed in 1946|
image Ohne Titel (Untitled)
Ohne Titel (Untitled)
PaintingOil1946
Sold For
$1,030,000
November 2015Max Ernst (1891 - 1976) | Ohne Titel (Untitled) | Oil on canvas | 13 1/8 by 15 in. | 33.2 by 38.1 cm | The present work is one of Ernst's celebrated post-war paintings that features a jewel-like palette and elements of his new found surroundings in Sedona, Arizona. The bird appears as a trompe l'oeil in the center of the composition, surrounded by the intricate markings of Ernst's preferred painterly technique. The fantastic quality and the opulence of color Ernst witnessed in the mountains and deserts of the American West during the 1940s and early 1950s made a strong impression on him that carried over into his art. The works that he completed during these years evidence the artist's renewed optimism triggered by Europe's post-war recovery, and the present work can be interpreted in this spirit. In this richly colorful composition, Ernst employed the technique of grattage that he had created during the early days of the Surrealist movement. This process is most evident near the sharp edges delineating where the palette knife had smoothed and scraped the wet paint, sometimes revealing a darker color beneath the top layer of pigment. As is the case for the present work, Ernst's paintings of the post-war era exhibited a stylistic duality of composition and disintegration—a suitable metaphor for the times. According to Werner Spies, his mood during this period "was an ambivalent one, which [Ernst] paraphrased as follows: 'From "The Age of Anxiety" to "The Childhood of Art" only half a rotation of the orthochromatic wheel is required. Between the "Massacre of the Innocents" and "Stepping Through the Looking-Glass" lies an interval merely of one luminous night’... Ernst remained true to his early decision to strive for a symbolic painting in which open questions, and hence the unfathomable obscurity of existence, took precedence over simplistic positivist explanations and definitive stylistic results" (Werner Spies, Max Ernst, A Retrospective (exhibition catalogue), Tate Gallery, London, 1991, p. 252). As Gisela Fischer further notes: “Like aquatic worlds, these fantastic unreal landscapes seem to bring deceased life to light. Are the anthropomorphic cypresses and gnarled vegetation offering hiding places to the exotic figures and animal heads, or are the latter in fact growing, metamorphosis-like, from out of the plants? It seems we are observing the decay of life while at the same time witnessing the emergence of a new world peeling itself out to the past. Ernst’s European pictures concentrate on destruction and violence, and the works he made in exile likewise exude discomfort and uncertainty, but they are nevertheless utopian: mysterious landscapes extending off into the distance, illuminating the hope for a better future” (Werner Spies & Julia Drost, eds., Ernst Retrospective (exhibition catalogue), Albertina, Vienna & Fondation Beyeler, Basel, 2013, p. 259).
image
PaintingOil1941
Sold For
£748,000
June 2007MAX ERNST 1891-1976 LA COMÉDIE DE LA SOIF Painted in 1941. signed max ernst and dated 41 (lower right); signed max ernst , titled and dated N-York 1941 on the reverse oil on canvas

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