{"id":375,"date":"2020-11-30T20:09:33","date_gmt":"2020-11-30T20:09:33","guid":{"rendered":"https:\/\/eportfolios.capilanou.ca\/chelsyzugazaga2\/?p=375"},"modified":"2020-11-30T20:18:44","modified_gmt":"2020-11-30T20:18:44","slug":"max-ernst-the-most-magnificently-haunted-brain","status":"publish","type":"post","link":"https:\/\/eportfolios.capilanou.ca\/chelsyzugazaga2\/max-ernst-the-most-magnificently-haunted-brain\/","title":{"rendered":"Max Ernst – The Most Magnificently Haunted Brain"},"content":{"rendered":"

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A foreword about the Dada movement in art is a required prerequisite to be able to understand Max Ernst\u2019s development as an artist, his artistic career and his influence on other artists.<\/p>\n

What was Dada and what did this art movement want in Cologne in 1919? The idea of bringing together all conceivable materials for artistic ends, and establishing a principle of equality for each kind of material used in the art making, together with a deliberate negation of traditional artistic values set this artistic movement apart from previous art schools.<\/p>\n

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For these artists in Cologne, the stimulus of Dada offered a highly fruitful set of aesthetic strategies for artistic and social dissent. It is in this milieu that Max Ernst career as an artist developed, mutating from expressionist-inspired woodcuts and drawings into representations of hallucinatory dream states that confused the boundary between conscious and unconscious perception, influenced by the writings of psychologist\u00a0Sigmund Freud<\/a>.<\/span> \u00a0<\/p>\n

Dada artists are known for their use of\u00a0readymades<\/a>\u00a0– everyday objects that could be bought and presented as art with little manipulation by the artist. The use of the readymade forced questions about artistic creativity and the very definition of art and its purpose in society.<\/p>\n

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George Grosz, \u201cDrinnen und Draussen\u201d (Inside and Outside), 1926\u00a0<\/span>Credit:\u00a0<\/span>Yale University Art Gallery Source:\u00a0https:\/\/www.max-ernst.com\/<\/span><\/span><\/h4>\n<\/div>\n<\/div>\n
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Max Ernst\u00a0was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family. 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. In 1914, Ernst attended the University of Bonn where he studied philosophy.<\/p>\n

During World War I, Ernst was forced to join the German Army. 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.<\/p>\n

During his early years, he became familiar with the works of some of the greatest artists of all time including\u00a0Claude Monet<\/a>,\u00a0Paul Cezanne<\/a>\u00a0and\u00a0Vincent van Gogh<\/a>. 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<\/p>\n

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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. Between 1919 and 1920, Max Ernst was one of the most enthusiastic leaders of the Dada movement in Cologne. By 1922, Ernst had moved to the French capital, where the surrealists were gathering around Andre Breton and never again worked in his native country. In 1924, in Paris, the artist became one of the founding members of the Surrealist group. Ernst was a pioneer of both movements.<\/p>\n

\u00a0Soon, Ernst decided to leave France and headed to New York to start a new life after becoming interned as a German national thrice. In New York, he joined\u00a0Piet Mondrian<\/a>\u00a0and Marcel Duchamp, who were his fellow avant-garde artists from Europe. With these two artists, Ernst inspired a number of aspiring and professional American artists during that period.<\/p>\n

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The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses
(La Biciclette gramin\u00e9e garnie de grelots les grisous grivel\u00e9s et les \u00e9chinodermes courbants l’\u00e9chine pour qu\u00eater des caresses)<\/span>1921<\/span><\/span><\/h5>\n<\/div>\n<\/section>\n
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