Everyone Here Speaks Latin - Max Ernst
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Beschreibung
A surrealist composition by Max Ernst, featuring small, enigmatic figures within a dense, textured forest environment.
Max Ernst produced Everyone Here Speaks Latin in 1923, a period when his work began to shift from the chaotic assemblages of Dada toward the dream-like imagery of Surrealism. The composition presents a dense, claustrophobic forest environment, rendered with a heavy application of paint that creates a sense of organic decay and growth. The foliage is not merely a background, but a dominant, almost suffocating presence that obscures the horizon.
Within this thicket, small, human-like figures appear. Their presence is jarring, as their bright, unnatural blue skin and red garments contrast with the muted, earthy tones of the surrounding vegetation. These figures seem engaged in obscure, ritualistic activities, their forms partially integrated into the gnarled roots and branches. The title itself adds a layer of intellectual irony, suggesting a hidden language or a secret society operating within the wild, untamed space of the woods.
Ernst utilised techniques such as frottage and grattage to achieve the textures seen in the bark and leaves, scraping away layers of paint to reveal underlying colours. This process allowed for a degree of automatism, where the artist allowed the material to dictate the final form of the image. The result is a scene that feels both ancient and alien, inviting the viewer to interpret the relationship between the human figures and their environment. The work avoids a clear narrative, instead focusing on the creation of an atmosphere that is simultaneously familiar and deeply unsettling. It remains a primary example of how Ernst used traditional oil painting methods to explore the irrational and the subconscious, moving away from the representational norms of the early twentieth century to create a visual language entirely his own.
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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
Everyone Here Speaks Latin - 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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