Max Ernst Art for Sale: Prints & Originals

Born in 1891 in Germany, Max Ernst rose as a seminal figure in the Dada and Surrealist movements, with his practice largely influenced by his exposure to philosophy and psychology at the University of Bonn. Ernst's journey into the art world gained momentum in the 1910s, marked by his involvement with Dadaism, a movement born out of the disillusionment with the horrors of World War I.

Ernst's work is renowned for its inventive techniques and dreamlike quality, which became hallmarks of his contributions to Surrealism. He experimented with various unique methods, including frottage (rubbing), grattage (scraping), and decalcomania (pressing paint between two surfaces). These techniques allowed him to create textured, otherworldly landscapes and figures that challenged the conventional boundaries of visual representation.

A defining early experience was Ernst’s involvement in the Cologne Dada group, where he formed connections with other avant-garde artists, setting the stage for a lifetime of collaboration and experimentation. His move to Paris in the 1920s was a critical milestone as he became more involved in the Surrealist movement, working with artists like André Breton and Salvador Dalí.

One of Ernst's most significant contributions was his development of the frottage technique, which he introduced in his 1925 book Histoire Naturelle. This method, involving pencil rubbings of textured objects, was revolutionary, influencing not just Surrealists but also future art movements. His 1936 inclusion in the Fantastic Art, Dada, Surrealism exhibition at the Museum of Modern Art in New York marked a turning point, introducing his groundbreaking work to a broader international audience. Ernst's impact was further solidified through major exhibitions, such as his first solo show in Paris and his retrospective at the Solomon R. Guggenheim Museum in New York in the 1960s.

Max Ernst's life took a turn during World War II when he was arrested by the Gestapo, due to his German nationality and involvement in the avant-garde art movements, which the Nazi regime deemed degenerate. His escape and subsequent journey to America were nothing short of miraculous, facilitated by the influential art patron Peggy Guggenheim. Guggenheim, who would later become his wife, played a large role in securing his release and arranging for his safe passage to the United States. This escape not only saved Ernst's life but prompted a new chapter in his artistic career, opening up opportunities in the thriving art scene of America.
The collaboration between Max Ernst and the French poet Paul Éluard was a milestone in the fusion of poetry and visual arts. Together, they created Les Malheurs des Immortels, a work that seamlessly merged Ernst's surrealistic visuals with Éluard's evocative poetry. Published in 1922, this novel was a testament to the potential of combining different art forms. It was pioneering in its approach, blurring the lines between word and image, and is often cited as an important precursor to later multimedia and conceptual art practices.
In 1954, Ernst's achievements were recognised with the Grand Prize for Painting at the Venice Biennale. This prestigious award was a double-edged sword: it led to his final exclusion from the surrealist group, which saw such mainstream recognition as a betrayal of their anti-establishment principles. Subsequently however, the award led to numerous solo exhibitions around the world, further cementing his status as a leading figure in modern art and allowing him to reach a broader audience than ever before.