Ernst Cameo

By Jose Maria Faerna

One of the major figures of Surrealism and Dada, Ernst created haunting, mysterious and sometimes whimsical images. He explored techniques such as collage, frottage and drip painting, and broadened the expressive options for generations of new artists, particularly the Abstract Expressionists.

• Format: Hardcover
• Language: English
• ISBN: 0810946963
• ISBN13: 9780810946965
• Release Date: September 1997
• Publisher: Harry N. Abrams
• Length: 64 Pages
• Weight: 2.00 lbs.
• Dimensions: 0.5" x 9.8" x 12.3"
• Age Range: 13 years and up
• Grade Range: Grade 8 to Postsecondary

Customer Reviews

Spectateur au hasard

Andre Breton s'interessait a la poesie creee au hasard. Ensuite son copain Max Ernst en faisait le meme dans l'art. Il representait, par des images creees au hasard, la super realite au-dela du quotidien. La dedans se melaient toutes les influences: de l'art dadaiste et expressioniste, des drogues, de l'hypnose, de la philosophie. Par son art - de collages, decalcomania, frottages, gouttages, grattages - il ouvrait la porte aux artistes de l'abstrait et du culture pop, de l'apres-guerre.

Viewer in the Dark

Surrealism founder Andre Breton wondered if random creating could work in art as it had in poetry. His friend Max Ernst made the effort by drawing on experimentation with hypnosis and mind-altering drugs, his own studies in philosophy, his years as an Expressionist and then Dada artist, and influences from fellow Surrealist Giorgio de Chirico. ERNST's collages, decalcomania, drippings, frottages, and grattages personalized images from the conscious and the unconscious into an eerily mysterious, unexpected super reality different from the waking world and not so easy to understand. He went on to influence post-war Abstract Expressionists and Pop artists, as seen by reading Carter Ratcliff's THE FATE OF A GESTURE and by viewing "Pollock." I used to think that the Dali dream sequence in the film "Spellbound" was the best glimpse of what Surrealism was about, but editor Jose Maria Faerna also gives a clear, compact view. This well-illustrated and organized book, along with his DE CHIRICO, shows what happened after William Vaughan's GERMAN ROMANTIC PAINTING. It also pigeonholes Ernst's place in Robert Motherwell's THE DADA PAINTERS AND POETS, Herbert Edward Read's A CONCISE HISTORY OF MODERN PAINTING, Peter Howard Selz's GERMAN EXPRESSIONIST PAINTING, and Patrick Waldberg's SURREALISM.