Pasiphae - André Masson

Sale price£37.00
Product: Fine Art Poster
Size: Small Square (30x30 cm)
Frame: -
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A striking Surrealist interpretation of the Greek myth of Pasiphae, rendered in bold lines and earth tones by André Masson.

André Masson, a central figure in the Surrealist movement, produced this interpretation of the Greek myth of Pasiphae during his period of exile in the United States. The work depicts the Cretan queen in a physical union with the bull, a subject that allowed Masson to explore themes of eroticism, violence, and the subconscious mind. His approach to the myth is not one of classical restraint, but rather a raw, visceral examination of human desire and animal instinct. The composition is dominated by the heavy, earth-toned form of the bull, which occupies the centre of the frame. Masson uses bold, black outlines to define the figures, creating a stark contrast against the pale, almost luminous skin of Pasiphae. The background is minimal, featuring a simplified architectural element that suggests a structure, perhaps a reference to the labyrinth of Knossos. The dark, moody sky provides a sense of enclosure, forcing the viewer to focus on the central interaction. Masson was deeply interested in automatic drawing and the expression of internal states. In this piece, the distortion of the figures reflects his rejection of traditional perspective and anatomical accuracy. The geometric patterns on the bull's flank add a decorative, almost archaic quality to the scene, grounding the mythological subject in a primitive aesthetic. The brushwork is deliberate, with visible texture that adds to the overall intensity of the image. This work remains a clear example of Masson's ability to translate complex psychological narratives into visual form, using the language of myth to address universal human experiences. The stark palette and aggressive lines create a sense of urgency, capturing a moment of mythic transformation.

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Crafted for a Lifetime — frame exploded view

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What our customers say

Real reviews from real customers

jayne-review-image
Received the beautiful hummingbird print in black frame. Great service, stunning print, I will post a picture when the room is finished. Thank you
Jayne - Yorkshire
WhatsApp Image 2025-08-22 at 17.52.11
Delighted with this print! The colours are extremely vibrant, the imagine crystal clear and beautifully displayed in an attractive frame. Delivery was prompt and securely packaged. Highly recommended and will be using again!
Matt - Rutland
nikki
So pleased with my print and the frame it’s housed in. Fantastic quality and really adds character to the room. Communication was great and it was delivered quicker than estimated. Overall I’m extremely pleased and will recommend to friends. I’m already eying up my next purchase!
Nikki - London
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Beautiful print, great quality and love it with the white frame. Delivery was really fast. I've had loads of compliments from visitors as I've hung it in my hallway as the first thing you see when you enter the house. Couldn't be happier.
Alice - Norfolk

André Masson

In late 1923, André Masson began making pen-and-ink drawings without a subject in mind, surrendering to what he described as "interior tumult" and moving with speed across the page. His method required three conditions: emptying the mind, entering a state bordering on trance, then writing quickly. "The slightest reflection broke the spell." The resulting automatic drawings appeared in every early issue of "La Révolution surréaliste", making him the first professional artist in the Paris group to attempt sustained automatism. He had been severely wounded in the First World War in 1917, physically and psychologically. His early paintings showed Cubist influence, but by 1925 he was alongside Breton and Aragon at the centre of Surrealism's public emergence. His connection to Antonin Artaud was close: ink drawings from around 1925 (each sheet 27.7 × 21.7 cm) were mounted on pages of Artaud's "Le Pese-Nerfs" (Paris, 1925). Scholars noted a distinction between his automatic drawings and his oil paintings. The drawings, executed at speed, were considered authentically automatic; the oils looked like translations of them and retained the marks of conscious effort. His position within Surrealism was never entirely settled. He lived in Spain from 1934 to 1936, then moved to the United States in 1941, remaining there until 1945. His presence in New York during the war years gave the emerging Abstract Expressionist painters direct access to Surrealist automatist thinking. He returned to France in 1945 and worked in an increasingly expressionist manner until his death in 1987, aged 91.