Paris Dream - Max Ernst
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Beschreibung
A 1924 Surrealist work by Max Ernst, featuring geometric, grid-like structures beneath a concentric celestial form.
Paris Dream, painted by Max Ernst in 1924, captures the transition of the artist from his Dadaist roots into the formal development of Surrealism. The composition presents a dreamlike, irrational space where architectural forms merge with celestial phenomena. The lower portion of the canvas features three rounded, mound-like structures composed of a grid of small, multicoloured squares. These blocks suggest a synthetic, almost mechanical construction of urban space, contrasting with the organic, fluid sky above.
Above these structures, a large, concentric circular motif dominates the upper half of the painting. This geometric element, rendered with precise, thin lines, resembles a sun or a celestial body, yet it lacks the warmth or naturalism associated with such objects. The sky itself is painted in horizontal bands of colour, moving from a pale, neutral tone near the horizon to a clearer blue at the top. This layering creates a sense of atmospheric distance, although the overall effect remains intentionally artificial and detached from reality.
Ernst utilised his characteristic techniques of juxtaposition to create a sense of unease. By placing the rigid, repetitive grid patterns of the lower structures against the ethereal, circular form in the sky, he forces the viewer to reconcile two disparate visual languages. The painting does not offer a clear narrative, but rather functions as a visual record of an internal state. It reflects the Surrealist interest in the unconscious mind and the ability of art to manifest imagery that exists outside of logical experience. The work remains a significant example of how Ernst manipulated perspective and texture to construct worlds that feel familiar yet entirely alien, inviting the viewer to engage with the ambiguity of the scene without the need for a singular, definitive interpretation.
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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
Paris Dream - 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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