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Max ErnstComposition with Blue Vase - Lithograph and stencil, 19581958
1958
$356.95
£265.58
€300
CA$494.42
A$529.76
CHF 284.18
MX$6,275.11
NOK 3,584.78
SEK 3,279.52
DKK 2,285.86
About the Item
Max ERNST
Composition with Blue Vase, 1958
Lithograph and stencil (Jacomet workshop) after a painting
On wove paper 31 x 24 cm (c. 12 x 10 in)
Edited by San Lazarro, 1958
Excellent condition
- Creator:Max Ernst (1891-1976, American, German, French)
- Creation Year:1958
- Dimensions:Height: 12.21 in (31 cm)Width: 9.45 in (24 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU46435737222
Max Ernst
Born in Germany in 1891, later naturalized as an American, then a French citizen, Max Ernst was a pioneer in the Dada and Surrealist movements, the boundaries of which he pushed with his unconventional methods of printmaking, drawing and collage.
Ernst had no formal art training — and that may have been his greatest asset. He produced his first work following four years serving in World War I. At the time, he was in Cologne, Germany, working closely with fellow Dada pioneers Jean Arp and Johannes Baargeld. His output during this period consisted largely of collages, which allowed him to represent the shards, rubble and explosions from his traumatic wartime experience.
In 1922, Ernst moved to France, where he soon became affiliated with Surrealism, the avant-garde art movement taking shape in Paris. Alongside Man Ray, Joan Miró and a couple of others, Ernst was among the first visual artists to experiment with imagery and techniques associated with Surrealism.
Ernst’s greatest contribution to the Surrealist movement was his invention of frottage (French for “rubbing”), wherein an artist rubs a pencil or crayon over a paper atop a textured surface, and later grattage (French for “scraping”), where a similar technique is applied with paint. Both methods showcase Ernst’s fascination with the unconscious and serendipitous elements of artistic creation, a theme that connected the Dadaists and the Surrealists. Ernst had deep knowledge of psychoanalysis and Sigmund Freud’s dream theories, which were big influences on Surrealists. He was among the first Surrealists to use Freud’s work to examine his own creative impulses. He also published a series of books of his collages, all of which were deeply symbolic and often philosophical.
When Germany occupied France during World War II, Ernst escaped to America with the help of patron and collector Peggy Guggenheim, whom he married in 1941. While living in New York, Ernst’s work and techniques proved instrumental in inspiring the early development of Abstract Expressionism — influencing Robert Motherwell and Jackson Pollock in particular. He later moved to Sedona, Arizona, where he lived with his fourth wife, Dorothea Tanning, a fellow Surrealist and prolific visual artist and poet.
While Ernst and Tanning are largely responsible for Sedona’s reputation as an artist colony, they relocated to France in the 1950s and remained until Ernst’s death in Paris in 1976.
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Max Ernst, The Hundred Headless Woman, from XXe Siecle, 1958
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This exquisite lithograph and pochoir by Max Ernst (1891–1976), titled La femme 100 tetes (The Woman with 100 Heads), from the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double) Mars 1958, originates from the 1958 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Atelier Daniel Jacomet et Cie, Paris, 1958. La femme 100 tetes reflects Ernsts distinctive synthesis of dream logic, visual poetry, and psychological transformation during one of the most influential periods of his Surrealist production.
Executed as a lithograph and pochoir on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Atelier Daniel Jacomet et Cie, Paris.
Artwork Details:
Artist: Max Ernst (1891–1976)
Title: La femme 100 tetes (The Woman with 100 Heads)
Medium: Lithograph and pochoir on velin paper
Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm)
Inscription: Unsigned and unnumbered as issued
Date: 1958
Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris
Printer: Atelier Daniel Jacomet et Cie, Paris
Condition: Well preserved, consistent with age and medium
Provenance: From the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double) Mars 1958, published by Societe Internationale dArt XXe Siecle, Paris; printed by Atelier Daniel Jacomet et Cie, Paris, 1958
About the Publication:
Gualtieri di San Lazzaros XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1960 issue, XXe Siecle, Nouvelle serie, No. 14, showcased Daphnis et Chloe, one of Chagalls most celebrated lithographic subjects, coinciding with his work on the monumental suite of lithographs inspired by the same pastoral tale, published by Teriade. Through this publication, San Lazzaro further cemented Chagalls reputation as the modern poet of color and love, uniting myth, nature, and emotion in visual form. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design.
About the Artist:
Max Ernst (1891–1976) was a German-French painter, sculptor, printmaker, and poet whose groundbreaking imagination and experimental techniques made him one of the most revolutionary figures of 20th century art, a founding member of both Dada and Surrealism who dismantled traditional notions of art through chance, dream imagery, and psychological exploration; born in Bruhl, Germany, he studied philosophy and psychology at the University of Bonn before rejecting academic convention to pursue art, inspired by Symbolism, Cubism, and the early abstractions of Pablo Picasso and Wassily Kandinsky; after the trauma of World War I propelled him toward the Dada movement in Cologne, he began creating seminal collages that fused scientific diagrams and Victorian engravings into surreal dreamscapes; by 1922 he had moved to Paris and joined a circle of avant-garde luminaries including Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, Man Ray, and Andre Breton, each of whom shared his fascination with the irrational and the unseen; Ernsts invention of frottage (rubbing) and grattage (scraping) revolutionized modern painting, revealing textures and hidden images below the surface and allowing chance to participate in creation; his visionary paintings—from The Elephant Celebes and Two Children Are Threatened by a Nightingale to Europe After the Rain II—blend myth, science, and dream into symbolic landscapes that remain among the defining masterpieces of Surrealism; a restless innovator, he expanded into sculpture with enigmatic totemic forms such as Capricorne, echoing the equilibrium of Calders mobiles and the conceptual wit of Duchamp; fleeing Nazi-occupied France during World War II, he emigrated to the United States with the support of Peggy Guggenheim, influencing Abstract Expressionists including Jackson Pollock, Robert Motherwell, and Willem de Kooning before returning to Europe to refine his poetic, alchemical approach to art; represented in MoMA, the Tate, the Centre Pompidou, and major museums worldwide, Ernst remains a cornerstone of modern art whose legacy continues to influence generations of artists. His highest auction record was achieved by Le roi jouant avec la reine (The King Playing with the Queen) (1944), which sold for approximately 24.4 million USD at Christies New York in November 2022.
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(after) Max Ernst - Blue Bird - Stencil
By (after) Max Ernst
Located in Collonge Bellerive, Geneve, CH
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...
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