Configuration No. 16 - Max Ernst
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Beschreibung
A surrealist collage by Max Ernst featuring a high-contrast lunar sphere set against a deep blue, textured void.
Max Ernst, a central figure in the development of Surrealism, produced this work during a period of intense experimentation with collage techniques. Configuration No. 16 demonstrates his ability to recontextualise found imagery to create unsettling, dreamlike environments. The composition is divided into two distinct zones: a dark, celestial upper register and a textured, oceanic lower section.
The upper portion features a large, detailed lunar sphere, rendered with high contrast. Within this orb, Ernst places a smaller, grid-like circular element, which disrupts the naturalistic appearance of the moon. This juxtaposition of scientific illustration and abstract form is characteristic of his approach to the uncanny. The lower section consists of a deep blue, patterned field that suggests a sea or a void. A second, smaller grid-sphere sits on the horizon line, while a dark, circular void containing a crescent shape occupies the lower right.
Ernst often utilised the technique of frottage or collage to bypass conscious control, allowing the subconscious to dictate the arrangement of disparate elements. By combining mechanical diagrams with organic textures, he creates a sense of cosmic displacement. The work avoids traditional perspective, opting instead for a flat, graphic arrangement that emphasises the symbolic nature of the objects. The stark contrast between the white lunar surface and the deep blue and black background creates a sense of isolation. This piece reflects the artist's interest in the intersection of science, mythology, and the irrational. It invites the viewer to consider the relationship between the known physical world and the hidden, psychological dimensions that Ernst sought to map through his art.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Configuration No. 16 - Max Ernst
Artist Biography
Max Ernst
He was born in Brühl, near Cologne, and studied philosophy and art history at the University of Bonn. He had no formal art training. He saw a Picasso exhibition, joined the Rhineland Expressionists, served in the German army during the First World War (artillery), and emerged with what he described as a compulsion to find something beyond rational thought. Dada gave him the method. Surrealism gave him the framework.
His collage novels, made from cut-up Victorian engravings reassembled into dreamlike narratives, are among the most original works of the twentieth century. Une Semaine de Bonte (A Week of Kindness, 1934) is a series of 182 collages arranged in five chapters, each associated with an element and a day of the week. The imagery is violent, erotic, and funny. The source material, melodramatic Victorian illustrations, is treated with deadpan seriousness.
He married four times. His second wife was Peggy Guggenheim (briefly). His fourth was the painter Dorothea Tanning. He moved to America during the war, lived in Sedona, Arizona, and then returned to France. He died in Paris in 1976, the night before his eighty-fifth birthday.
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