At the First Clear Word - Max Ernst
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A seminal Surrealist work by Max Ernst, featuring a disembodied hand and insect in a dreamlike, architectural setting.
Max Ernst painted At the First Clear Word in 1923, a period during which he transitioned from the chaotic energy of Dada into the structured dreamscapes of Surrealism. The composition presents a flat, terracotta-coloured wall punctuated by two rectangular apertures. Through these openings, a clear blue sky is visible, creating a stark contrast with the earthy tones of the foreground.
Central to the image is a disembodied hand emerging from one of the windows, its fingers delicately manipulating a thin thread that connects to a small, green insect on the left. The insect, resembling a stick insect or mantis, hangs suspended against the wall. Two tall, plant-like forms rise vertically, their leaf structures echoing the shape of the windows. Small, red spherical objects are attached to the threads and the plant stems, adding a sense of artificiality to the scene.
Ernst employs a precise, almost clinical technique to render these impossible juxtapositions. The lack of traditional perspective and the smooth, matte application of paint contribute to the uncanny atmosphere. By isolating these objects from their natural context, Ernst invites the viewer to consider the relationship between language, perception, and the subconscious. The work avoids narrative clarity, instead relying on the tension between the organic forms and the rigid, architectural elements. The title itself suggests the moment of articulation or the birth of meaning, yet the visual evidence remains enigmatic. This piece is representative of Ernst's ability to construct worlds that feel familiar in their individual components but alien in their collective arrangement.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
At the First Clear Word - 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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