Max Ernst, the great Surrealist artist, produced a body of graphic work that surpassed that of any other artist associated with Surrealism.  His innovative printing techniques were the equivalent of the semi-automatic image-making procedures used by the painters and poets of his day, and his collaboration with the literary founders of Dada and Surrealism resulted in some of the most beautiful and evocative books of our time. In honor of the donation by Ernst's widow, Dorothea Tanning, of 150 of Ernst's etchings and lithographs--including the magnificent Maximiliana--The New York Public Library has mounted a major retrospective of his works.  More than 200 books, prints, collages, and drawings, taken from the Library's collection and from private American and European collections, were selected for this exhibition--which will be displayed at The New York Public Library from October 11 to December 31, 1986, and will travel from there to the University of Michigan Art Museum, Ann Arbor.      Max Ernst:  Beyond Surrealism--An Exhibition of the Artist's Books and Prints is a fully illustrated catalogue of the Max Ernst retrospective, with three essays documenting and interpreting the artist's books and prints, a chronology, selected bibliography, and illustrated checklist of the works in the exhibition.  The first essay, by Robert Rainwater, surveys Ernst's printmaking in all media, from the linoleum cuts produced in his student years at the University of Bonn through the complex intaglio prints and transfer lithographs he created in collaboration with master French printers during the last 25 years of his life.  The second, by Evan Maurer, discusses the themes and recurring forms in Ernst's prints and examines the artist's three great collage novels--La Femme 100 têtes (1929), Rêve d'une petite fille qui voulut entrer au carmel (1930), and Une Semaine de Bonté (1934).  Maurer views the novels in the light of Ernst's entire career and discusses their sources and motivations. In a third essay, Anne Hyde Greet traces the evolution of the livre de peintre, or artist's book, in 20th-century France.  She places Ernst's bookmaking activities in the context of this development, and, in the process, examines all his major illustrated books and gives a detailed study of his collaboration with the Russian futurist poet, printer, and publisher Iliazd (Ilia Zdanevich) on Maximiliana.      Not only a guide to the current exhibition, this book will stand as a provocative and insightful study of Max Ernst's contribution to 20th-century print and bookmaking.

Max Ernst: Loplop the Artist

Spies, Werner

Arts & Photography

THAMES HUDSON LTD

English (translation)Original German

Max Ernst Collages /anglais

Reference

Thames&Hudson

Max Ernst Frottages

Catalogs & Directories

A penetrating, intimate portrayal of the creative life of an individual artist and of the artistic life of the twentieth century. Throughout his career, Max Ernst created fantastic worlds through images. But it is only when one sees his work in relation to the images of his personal life—his letters, photographs, poetry, and diaries, so brilliantly reproduced on these pages—that one begins to understand his world, a world spent at the epicenter of twentieth-century artistic life. Max Ernst: Life and Work draws on an unprecedented collection of source material, much of it published here for the first time, to present a compelling portrait of the artist's life and an intellectual portrait of the period. Edited by Werner Spies, a close friend of Max Ernst and the leading authority on his extraordinarily rich, surreal world, it includes letters and notes by friends and contemporaries that provide insight into the reception of Ernst's oeuvre and shed light on his biography. The vast range of documents includes texts by Hans (Jean) Arp, André Breton, Louis Aragon, Paul éluard, Tristan Tzara, Man Ray, Benjamin Perêt, Lotte Lenya, Leonora Carrington, and many others. Ernst's life and work were intimately interwoven, and the hundreds of documents here are interspersed with numerous reproductions of his work, all of which recall the variety and richness of the artist's discoveries and innovations. Ernst—dubbed "Dada Max"—played a vital role in the history of Dada and Surrealism in Cologne, Zurich, and Paris, and shaped the face of the New York art scene during his exile there. 615 illustrations, 154 in color.

Max Ernst: Life and Work

The recurring appearance of the Loplop--a wooden-looking bird--in works by the Surrealist artist is examined from aesthetic, artistic, and psychological perspectives

Max Ernst-Loplop: The Artist in the Third Person

Individual Artists

George Braziller

Max Ernst, the great Surrealist artist, produced a body of graphic work that surpassed that of any other artist associated with Surrealism. His innovative printing techniques were the equivalent of the semi-automatic image-making procedures used by the painters and poets of his day, and his collaboration with the literary founders of Dada and Surrealism resulted in some of the most beautiful and evocative books of our time. In honor of the donation by Ernst's widow, Dorothea Tanning, of 150 of Ernst's etchings and lithographs--including the magnificent Maximiliana--The New York Public Library has mounted a major retrospective of his works. More than 200 books, prints, collages, and drawings, taken from the Library's collection and from private American and European collections, were selected for this exhibition--which will be displayed at The New York Public Library from October 11 to December 31, 1986, and will travel from there to the University of Michigan Art Museum, Ann Arbor. Max Ernst: Beyond Surrealism--An Exhibition of the Artist's Books and Prints is a fully illustrated catalogue of the Max Ernst retrospective, with three essays documenting and interpreting the artist's books and prints, a chronology, selected bibliography, and illustrated checklist of the works in the exhibition. The first essay, by Robert Rainwater, surveys Ernst's printmaking in all media, from the linoleum cuts produced in his student years at the University of Bonn through the complex intaglio prints and transfer lithographs he created in collaboration with master French printers during the last 25 years of his life. The second, by Evan Maurer, discusses the themes and recurring forms in Ernst's prints and examines the artist's three great collage novels--La Femme 100 têtes (1929), Rêve d'une petite fille qui voulut entrer au carmel (1930), and Une Semaine de Bonté (1934). Maurer views the novels in the light of Ernst's entire career and discusses their sources and motivations. In a third essay, Anne Hyde Greet traces the evolution of the livre de peintre, or artist's book, in 20th-century France. She places Ernst's bookmaking activities in the context of this development, and, in the process, examines all his major illustrated books and gives a detailed study of his collaboration with the Russian futurist poet, printer, and publisher Iliazd (Ilia Zdanevich) on Maximiliana. Not only a guide to the current exhibition, this book will stand as a provocative and insightful study of Max Ernst's contribution to 20th-century print and bookmaking.

Max Ernst 1950-1970: The Return of La Belle Jardiniere

Abrams

Sculpture by Picasso with a Catalogue of the Works

This monograph - the most comprehensive yet on Vasarely - sets out to present and interpret an oeuvre that is of fundamental importance for our time and for the future. To condense the aim of his work into a convenient formula, one might say that Vasarely seeks to modify society through art and art through society. 12x11", 206 pp., 187 illustrations including 68 in full color.

Victor Vasarely

Harry N. Abrams

Albers

Harry N.Abrams, Inc.

Victor Vasarely, with 85 Illustrations

Abrams / Meridian

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