The Kiss - Max Ernst
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Beschreibung
A 1927 Surrealist oil painting by Max Ernst, depicting two figures in an abstract, fluid embrace against a bold blue sky.
Max Ernst painted The Kiss in 1927, a period during which his work moved towards more fluid, organic forms. This piece captures two figures in an embrace, though their physical boundaries blur into one another. The composition relies on a stark contrast between the warm, earthy tones of the figures and the bright, unmodulated blue of the background. This choice of colour creates a sense of displacement, removing the subjects from any recognisable environment.
Ernst utilised a technique that allowed for the suggestion of texture and depth within the figures, contrasting with the flat, graphic quality of the sky and ground. The lines defining the bodies are calligraphic and continuous, suggesting a state of flux or transformation. The figures appear to merge, reflecting the Surrealist interest in the subconscious and the dissolution of the self. The singular white cloud in the upper right corner provides a small, quiet detail against the otherwise bold, abstract arrangement of the primary subjects.
As a central figure in the Surrealist movement, Ernst often explored themes of desire and metamorphosis. In this work, the act of kissing is rendered not as a realistic depiction, but as a psychological event. The bodies lose their anatomical precision, becoming shapes that interlock and overlap. This approach forces the viewer to interpret the emotional weight of the scene rather than its physical reality. The work remains a clear example of how Ernst manipulated form and colour to evoke states of mind, moving away from traditional representation to create a visual language that feels both alien and intimate.
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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
The Kiss - 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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