Tag: max ernst

Surrealism and the Dream – Madrid – Spain

Salvador Dalí - Dream caused by the Flight of a Bee around a Pomegranate one Second before waking - 1944 - Oil on panel - 20" × 16 inches - 51 × 41 cm - Thyssen-Bornemisza Museum, Madrid - © Salvador Dalí, Fundación Gala-Salvador Dalí / VEGAP, Madrid 2012

Salvador Dalí – Dream caused by the Flight of a Bee around a Pomegranate one Second before waking – 1944 – Oil on panel – 20″ × 16 inches – 51 × 41 cm – Thyssen-Bornemisza Museum, Madrid – © Salvador Dalí, Fundación Gala-Salvador Dalí / VEGAP, Madrid 2012

From 08 October 2013 to 12 January 2014 – Museo Thyssen-Bornemisza
Surrealism was not just another artistic movement but an attitude to life that has left a profound mark on all subsequent artistic creation. For the first time this exhibition will reveal how this transformation of modern sensibility had its roots in the profound connection between dream and image in Surrealism. Paintings, drawings, collages, sculptures and photographs by artists such as André Breton, Salvador Dalí, Paul Delvaux, Yves Tanguy, René Magritte, André Masson, Max Ernst, Jean Arp, Claude Cahun and Paul Nougé will be used to construct an overview of this fascinating relationship proposed by the curator José Jiménez, to which little attention has been given in art-historical studies. From the outset, the Surrealists championed the dream together with automatic writing, seeing them as fundamental routes towards the liberation of the psyche. While Freud’s thinking, in particular his great work The Interpretation of Dreams (1900), was crucial for the Surrealists’ own approach to the world of dreams, they were more than mere followers of his ideas. For them, the dream was a field of experience different to that of conscious life, and knowledge of it was essential for the enrichment and expansion of the psyche.

“Each morning when I awake, I experience again a supreme pleasure, That of being Salvador Dalí.”
— Salvador Dalí

Museo Thyssen-Bornemisza


Max Ernst – Basel – Switzerland

Max Ernst, The Fireside Angel (The Triumph of Surrealism), 1937, Oil on canvas, 114 × 146 cm, Private collection © 2013, ProLitteris, Zurich

Max Ernst, The Fireside Angel (The Triumph of Surrealism), 1937, Oil on canvas, 114 × 146 cm, Private collection © 2013, ProLitteris, Zurich


From may 25 to September 8, 2013 – The Fondation Beyeler

Max Ernst (1891–1976) is one of modernism’s most versatile artists. Having started out as a Dadaist in Cologne, he soon became a pioneer of Surrealism in Paris. A tireless creator of new figures, forms and techniques, Max Ernst kept on evolving in new directions even up to his late years. His remarkable oeuvre, which defies any clear stylistic definition, was also shaped by his eventful life and the many different places in which he lived in Europe and America.

The major retrospective at the Fondation Beyeler will present an exemplary selection of over 170 paintings, drawings, collages, sculptures and books by Max Ernst that encompass all aspects of his work. For the first time in Switzerland, visitors will be able to experience the full richness of Max Ernst’s multifaceted oeuvre.

Fondation Beyeler


Max Ernst, Retrospective – Vienna – Austria

Max Ernst – Au dessus des nuages marche la minuit, 1920 – Photographische Vergrößerung einer Collage – © VBK, Wien 2012 / Kunsthaus Zürich


From 23 January 2013 to 5 May 2013 – Albertina

First retrospective in Austria – of Max Ernst, the great pictorial inventor. Presenting a selection of 150 paintings, collages, and sculptures, as well as relevant examples of illustrated books and documents, the exhibition will assemble works related to all of the artist’s periods, discoveries, and techniques, thereby introducing his life and œuvre within a both biographic and historical context.

Max Ernst – la puberté proche… (les pléiades), 1921 – Collage, Gouache und Öl auf Papier, auf Karton aufgezogen -
© VBK, Wien 2012 / Privatsammlung


T
ogether with Matisse, Picasso, Beckmann, Kandinsky, and Warhol, Max Ernst no doubt numbers among the leading figures of 20th-century art history. An early protagonist of Dadaism, a pioneer of Surrealism, and the inventor of such sophisticated techniques as collage, frottage, grattage, decalcomania, and oscillation, he withdraws his work from catchy definition. His inventiveness when it comes to handling pictorial and inspirational techniques, the breaks between his countless work phases, and his switching back and forth between themes cause irritation. Yet what remains a constant is his consistence in terms of contradiction.

Albertina


Kamagurka, Kamarama – Bruges – Belgium

Kamagurka - The End of Cubism - 2012


From the first of May to the first of August 2012 – Arentshuis and other locations

Artist, painter, theatre and television producer Kamagurka (Luc Zeebroek) will act as curator for a special art project in Bruges: Kamarama. On several locations he will display his own works as well as works of other artists who inspire and fascinate him. It will be an exhibition full of remarkable art, surprising perspectives and a certain amount of humour.

Kati Heck - check - 2012 - courtesy Jan Mostmans


Th
e Arentshuis will act as a live atelier in which Kamagurka will display his own art works. From time to time he will create a new work here, by himself or together with other artists such as David Bade (May 1), Stephen Tunney (May 3 & 4), Werner Mannaers (May 17 & 18), Jeroen Henneman (June 28 & 29) and Muzo (July 10 & 11).

Roland Topor


I
n the Garemijn Hall, Kamagurka displays works from artists who inspired and influenced him. He likes to combine historic and contemporary art. He’s also fascinated by international links and the use of mixed media in art.

Kamagurka - Retrospective VII (kubistische smurfin) - 2012


D
isplayed artists: Capitaine Lonchamps (B), David Bade (NL), Don Van Vliet a.k.a. Captain Beefheart (US), Emile Salkin (F), Francis Picabia (F), Fred Bervoets (B), George Condo (US), George Grosz (D), Georges Ribemont-Dessaignes (F), Herr Seele (B), J.J. Grandville (F), James Ensor (B) , Jan Fabre (B), Jeff Olsson (S), Jeroen Henneman (NL), Kati Heck (D), Luc Tuyman s (B), Lucebert (NL), Marcel Duchamp (F), Markus Lüpertz (D), Max Ernst (D), Muzo (F), Otto Dix (D), Pablo Picasso (E), Paul Joostens (B), René Daniëls (NL), René Magritte (B), Rinus Van de Velde (B), Roland Topor (FR), Stephen Tunney a.k.a. Dogbowl (US), Werner Mannaers (B), Wim Delvoye (B), Wim T. Schippers (NL) and Yves Obyn (B).

Herr Seele - Cowboy Henk, 2011 - courtesy of the artist


Y
ou will also see art works in the streets of Bruges such as his ‘accidental’ portraits of fictive people. There will be 12 portraits spread around the Arentshof garden and alongside the Dijver. If you think you recognize a family member, friend or acquaintance in one of the portraits, you can report this on this website. At the end of the project, Kamagurka will choose the one who is the best lookalike of one of his portraits.

Kamarama


Saint Anne, Leonardo da Vinci’s ultimate masterpiece – Paris – France

Léonard de Vinci, La Vierge à l’Enfant avec sainte Anne. Après restauration. 1503-1519. Huile sur bois. 168 x130 (largeur initiale : 112) cm. Paris, musée du Louvre, Inv. 776 © RMN, musée du Louvre / René Gabriel Ojéda


From March 29, 2012 to June 25, 2012 – Musee du Louvre

Leonardo da Vinci’s masterwork The Virgin and Child with Saint Anne, restored with the aid of the C2RMF (Center for Research and Restoration of the Museums of France), is the centerpiece of an exceptional exhibition that reunites all surviving related works for the first time.

The beginning of the slow and complex genesis of the painting dates back to 1501, when it was first mentioned in Isabella d’Este’s correspondence. Leonardo da Vinci continuously worked to perfect this ambitious composition, left unfinished upon his death in 1519.

Compositional sketches, preparatory drawings, landscape studies and the National Gallery of London’s magnificent cartoon are brought together for the first time since the artist’s death to illustrate his lengthy meditation and expose the succession of solutions he had envisioned.

Léonard de Vinci, Sainte Anne, la Vierge et l’Enfant Jésus bénissant saint Jean Baptiste. Vers 1500. Pierre noire, rehauts de blanc. 141,5 x 104,6 cm. Londres, The National Gallery, NG 6337 © The National Gallery, Londres, Dist. RMN / National Gallery Photographic Department

Other painted artworks by Leonardo are also used to show how the Saint Anne is the true culmination of the artist’s numerous and varied explorations on nature and art.
To reveal the full scale of the artwork’s innovative nature, the exposition also strives to reposition the Saint Anne in the iconographic tradition of its subject (the Virgin and Child with Saint Anne) and demonstrate its considerable influence on Italian art in the early 16th century.

More recent tributes to the artist by Eugène Delacroix, Edgar Degas, and Max Ernst bear witness to the masterpiece’s longstanding influence.

Museum Hours


Berenice Abbott, Photographs – Paris – France

Jean Cocteau avec un revolver 1926 Berenice Abbott Épreuve gélatino argentique, 35,5 x 28 cm. Ronald Kurtz / Commerce Graphics. © Berenice Abbott / Commerce Graphics Ltd, Inc


From 21 February 2012 until 29 April 2012 – Musee du Jeu de Paume

With Berenice Abbott (1898-1991), urban experience is at the heart of the exhibition: in an America shaken by the Wall Street Crash, her images of 1930s New York convey her fascination with an urban landscape in the throes of dramatic change. Also known for championing the work of Eugène Atget, Abbott, who originally wanted to be sculptor, proved to be a great photographer of matter, space and light.
This is the first exhibition in France to cover every stage of Berenice Abbott’s career, featuring over 120 vintage prints by this American photographer as well as a series of documents never previously shown. The selection of portraits, architectural photographs and scientific plates shows the many facets of a body of work all too often reduced to a handful of familiar images.

Berenice Abbott came to the French capital in the 1920s and was trained by Man Ray before opening her own studio, where she began a successful career as a portrait photographer. Mixing in the artistic and intellectual circles of the day, she photographed a cosmopolitan cast including Eugène Atget, Marcel Duchamp, James Joyce, Man Ray, Jean Cocteau, Sylvia Beach, André Gide, Foujita, Max Ernst, and Marie Laurencin.

Park Avenue et 39e rue, New York 8 octobre 1936 Berenice Abbott Épreuve gélatino argentique, 19 x 24,5 cm. Museum of the City of New York. Gift of the Metropolitan Museum of Art. © Berenice Abbott / Commerce Graphics Ltd, Inc.


T
he exhibition also features a substantial selection of images form her Changing New York project (1935-1939), for which she is best known. This undertaking was Abbott’s own initiative but was financed by the Works Progress Administration, part of Roosevelt’s New Deal efforts to combat the Great Depression. Conceived as both a record of the city and a work of art in its own right, this ambitious government commission focuses on the contrast between the old and the new in the rapidly changing city.
The photographs she took in 1954 when travelling along the US East Coast on Route 1 (the exhibition is presenting a never previously exhibited selection of these) reflect her ambition to represent the whole of what she called the “American scene.”
In the 1950s, Abbott produced a set of photographs illustrating the principles of mechanics and optics for the Massachusetts Institute of Technology. Combining aesthetic and educational concerns, these abstract, experimental images echo her photograms of the 1920s.
An active participant in the avant-garde circles in the 1920s, a determined opponent of Pictorialism and the school of Alfred Stieglitz, famous for bringing Eugène Atget to international attention, Berenice Abbott spent her whole career exploring the notions of documentary photography and photographic realism. This retrospective at Jeu de Paume brings out the richness of her approach, and both the diversity and unity of her work.

Museum Hours


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