The Temptation of Saint Anthony - Max Ernst
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Max Ernst's 1945 surrealist masterpiece depicting the psychological torment of Saint Anthony through a swarm of grotesque, hybrid creatures.
Max Ernst painted The Temptation of Saint Anthony in 1945 for a competition organised by the David L. Loew-Albert Lewin film production company. The brief required artists to depict the saint's torment as featured in the film The Private Affairs of Bel Ami. Ernst won the competition, and his work appeared in the final motion picture.
The composition presents a chaotic, nightmarish scene. Saint Anthony is depicted in the lower right, overwhelmed by a swarm of grotesque, hybrid creatures. These figures, part animal and part machine, claw at his robes. The environment is equally unsettling, featuring jagged rock formations and a desolate, murky pool. The sky is a bruised mixture of dark clouds and sickly light, which adds to the sense of psychological distress.
Ernst employs a technique that blends precise, realistic rendering with bizarre, dream-like subject matter. The figures are rendered with a high degree of detail, yet their forms defy biological logic. This creates a friction between the viewer's recognition of physical reality and the irrational nature of the scene. The colour palette is dominated by deep, muddy tones, punctuated by the sharp, alarming red of the saint's cloak. This contrast draws the eye directly to the central struggle.
This work reflects the artist's interest in the subconscious and the irrational. By reinterpreting a traditional religious subject through a surrealist lens, Ernst transforms a classic narrative of spiritual trial into a modern exploration of internal anxiety. The painting remains a significant example of mid-century surrealist practice, demonstrating the artist's ability to construct convincing, yet entirely alien, worlds.
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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
The Temptation of Saint Anthony - 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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