33 Little Girls Chasing Butterflies - Max Ernst
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Descripción
A 1958 oil painting by Max Ernst, featuring a dense, shimmering field of fragmented brushstrokes that evoke the movement of light and butterflies.
Max Ernst created 33 Little Girls Chasing Butterflies in 1958, a period during which his work moved towards a more abstract, textural exploration of light and form. The composition is defined by a dense accumulation of small, fragmented brushstrokes that create a shimmering, kaleidoscopic effect across the canvas. Rather than depicting the figures in a literal sense, Ernst uses colour and light to suggest the frenetic energy of movement.
The painting is dominated by a central burst of golden yellow and white, which radiates outward into cooler tones of blue, grey, and violet at the edges. This play of light mimics the ephemeral nature of butterflies in flight, with the small, square-like marks of paint acting as individual units of colour that coalesce into a larger, unified field. The technique reflects the artist's interest in the physical properties of paint and the way it can be manipulated to evoke atmospheric conditions.
Ernst, a central figure in the Surrealist movement, often employed techniques such as frottage and grattage to introduce chance into his creative process. In this work, the application of paint suggests a systematic yet spontaneous approach, where the repetition of small marks builds a sense of depth and motion. The title provides a narrative anchor for an otherwise non-representational image, inviting the viewer to interpret the chaotic, light-filled space as a scene of childhood activity. The work remains a fine example of the artist's later career, where he moved away from the dream-like iconography of his earlier Surrealist paintings towards a more painterly, abstract language that prioritised the sensory experience of the viewer.
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33 Little Girls Chasing Butterflies - 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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