At the First Clear Word - Max Ernst
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Beskrivning
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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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
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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