Fruit of a Long Experience - Max Ernst
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
A seminal Dadaist assemblage by Max Ernst, featuring a collection of found wooden and metal objects arranged to challenge traditional artistic boundaries.
Fruit of a Long Experience, created in 1919, represents a significant moment in the early development of Dadaist assemblage. Max Ernst, a central figure in the movement, utilised found objects to construct this relief, moving away from traditional painting techniques. The work consists of various wooden components, metal elements, and painted surfaces, arranged in a manner that defies conventional spatial logic. By incorporating industrial scraps and discarded materials, Ernst questioned the status of the art object and the role of the artist as a creator of unique, hand-crafted beauty.
The composition features a vertical wooden strip with circular cut-outs, reminiscent of a mechanical part or a measuring tool. Other geometric shapes, including cylinders and angular blocks, are attached to the panel, creating a sense of shallow depth. Ernst painted delicate, star-like constellations onto the background, which contrast with the heavy, physical presence of the wooden elements. This juxtaposition of the celestial and the mechanical is a recurring theme in his work, reflecting the anxieties and technological shifts of the post-First World War era.
This piece demonstrates the Dadaist interest in chance, absurdity, and the recontextualisation of everyday items. Rather than seeking to represent a recognisable subject, the work functions as a collection of disparate parts that invite the viewer to consider the relationship between form and function. The muted colour palette, dominated by earthy greens and warm wood tones, anchors the composition, while the inclusion of electrical components, such as the small terminal block at the bottom, adds a layer of literal, functional reality to the abstract arrangement. It remains a clear example of how Ernst used physical construction to challenge the boundaries of fine art, prioritising conceptual engagement over traditional aesthetic harmony.
Rückgaberecht
Da jeder Druck auf Bestellung gefertigt wird, bieten wir keine Rücksendungen, Rückerstattungen oder Umtausche aufgrund von Meinungsänderungen an. Sollte Ihre Bestellung fehlerhaft, beschädigt oder falsch ankommen, ersetzen wir sie kostenlos – kontaktieren Sie uns einfach innerhalb von 48 Stunden nach Lieferung. Vollständige Details finden Sie auf unserer Rückerstattungsseite.
Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
Fertigung
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
Fruit of a Long Experience - 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.
Warum uns wählen?
Garantie für beschädigungsfreie Lieferung
Schneller Versand
Museumsreife Materialien
Das könnte Ihnen auch gefallen