Compendium of the History of the Universe - Max Ernst
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
A striking Surrealist work by Max Ernst, featuring intense red tones and biomorphic forms that explore themes of cosmic mystery and the subconscious.
Max Ernst produced Compendium of the History of the Universe in 1923, a period during which he was actively shaping the visual language of Surrealism. This work demonstrates his interest in the juxtaposition of disparate elements to create a sense of psychological unease and cosmic mystery. The composition is dominated by a saturated red field, which serves as a backdrop for abstract, biomorphic forms that suggest both organic growth and mechanical construction.
Ernst utilised techniques such as frottage and grattage to achieve the varied textures visible across the surface. These methods allowed him to bypass conscious control, inviting chance to dictate the final appearance of the work. The central figure, if it can be described as such, possesses a bird-like quality, a recurring motif in the artist's oeuvre. This figure appears to emerge from the red ground, its form defined by sharp, angular lines that contrast with the softer, more nebulous areas of the background. The eye-like shape near the upper centre provides a point of focus, drawing the viewer into the internal logic of the piece.
By 1923, Ernst had moved from the Dadaist activities in Cologne to the burgeoning Surrealist circle in Paris. This transition is evident in the shift towards more dream-like, irrational imagery. The title itself suggests an ambitious, almost encyclopaedic scope, yet the visual content remains elusive and resistant to literal interpretation. The interplay between the flat, intense colour and the layered, textured surfaces creates a tension that is characteristic of his early Surrealist paintings. This print captures the specific tonal qualities of the original oil painting, allowing for a close examination of the artist's mark-making and the complex spatial relationships he constructed within the frame.
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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
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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
Compendium of the History of the Universe - 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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