Une Semaine De Bonte (A Week of Kindness)

Total Page：16

File Type：pdf, Size：1020Kb

Une Semaine de Bonte (A Week of Kindness) A Surrealist Collage Novel By Max Ernst Dover Edition New York 1976 This work is part of a collage novel by surrealist Max Ernst. He uses appropriated images appropriated from the lurid tabloid novels of the time as sources for this work. The practice of appropriation was first practiced by artists in the DADA movement but was taken up by the Surrealists. Surrealism was profoundly influenced by the recently published work of Sigmund Freud. Freud’s Method: Free Association To unpack the various meanings of a dream, take each object, person, situation, etc. and free associate to them, one at a time. What does it remind you of? What comes to mind when you think of that element of the dream? Let your imagination go. Let your attention wander. Come up with as many associations as possible. Do this in your head, or talk out loud. If you let yourself go with this, something will come up - a memory, an idea, a feeling. (You know you are onto something when you experience that AHA!, light bulb-popping experience) Max Ernst Une Semaine de Bonte p. 137 Visual Analysis • Who? • Why? • When? • Where? • What? • How? Who? Max Ernst Ernst was a member of both the Dada and Surrealist art movements. The preface to the Dover edition of Une Semaine de Bonte, describes the surrealist artist as “concerned with the free association of images, with the meaningful reassemblage of disparate objects and with the play element in art.(v)” Self Portrait The punching ball ou l’immortalite de buonarotti AKA dadafex maximus 1920 Collage on photograph and gouache 17.6 x 11.5 cm Why? Ernst began his career as an artist as a member of the DADA movement. Dada developed out of the horrors of World War I. The work of Dada artists, like Ernst and Kurt Scwitters—another artist who worked in collage— represented a political and cultural revolt against the the traditional approaches and social values attributed to the high art culture of Europe. The Dada movement was a precursor to the Surrealist movement which drew on the psychological theories of Sigmund Freud in an attempt to come to terms with the disintegration of European civilization caused by that conflict. Ernst began his career as an artist as a member of the DADA movement and became a surrealist by 1934 when he created this collage Novel. When? Where? Ernst created Une Semaine de Bonte during a three week visit to Italy in 1934. During that year, the Nazis’ condemned Ernst’s work as decadent and that may account for the mood of catastrophe that pervade this collage novel. The work was published in Paris in 1934 as 5 separate booklets just as many graphic novels are published in sections before being collected into book form. What? And How? Une Semaine de Bonte is The individual pages of a visual narrative that is the novel were created constructed using using the collage surrealist imagery such as technique of pasted the bird headed human papers. The images were figures in the section we appropriated from will be examining. These printed engravings that figures are engaged in were used to illustrate various actions to create the melodramatic stories the moments of the in the popular pulp fiction sequence that serves to of the time. develop the story being told. Title Page MAX ERNST A WEEK OF KINDNESS OR THE SEVEN DEADLY ELEMENTS NOVEL FOURTH BOOK WEDNESDAY ELEMENT: BLOOD EXAMPLE: OEDIPUS "Great God, save the earth from ever bearing such monsters. No history has proved that there ever were any such. Through the efforts of the authorities, no one will be exposed to them any longer." (Complainre de Peyrebeille) "It is also called MAMMA by mistake." (Paul Eluard, Exemples) .

Copy Link

Recommended publications

Of Interconnected Realities): Cyber Drawing and Mash-Up Electronic Goodness Paula Roush and Maria Lusitano
A field (of interconnected realities): cyber drawing and mash-up electronic goodness paula roush and maria lusitano Essay for ISEA 2011 Istanbul Conference proceedings, Presented at the ISEA the 17th International Symposium on Electronic Art, Sabanci University, Istanbul, September 2011, Participation with the support of CMCR | Centre for Media & culture Research (London South Bank University) Keywords: artist's book, networked performance, collage,collage-novel, drawing, cyberformance, Max Ernst, Une Semaine de Bonté (A Week of Goodness), reenactment of the work of art Abstract: In this paper we discuss the reenactment of the artist’s book A week of goodness (1934) for a pubic art commission – Living room 10 in Auckland city centre– titled A field (of interconnected realities)(2010). We analyse the surrealist collage novel that explored the unconscious in a series of traumatic tableaux and its translation from the physical to the virtual codex. This performative reading of the book is presented at two voices to reflect the dual collaborative process that occurred both in research and in the practice of split screen video stream collage. [paula roush] 1. The traditional western codex In 1934 Max Ernst published the artist’s book Une semaine de bonté ou Les sept elements capitaux (A week of goodness or The seven deadly elements), the third in a series of collage novels, where he developed a new working methodology. This was characterised by the sampling of 19th century mass-produced iconographic sources, mostly found in used book stores and including scientific publications and popular romances, and old commercial catalogues of goods and fashions.
[Show full text]
Max Ernst: "The Hundred Headless Woman" and the Eternal Return
Suid-Afrikaanse Tydskrif vir Kunsgeskiedenis 4(2&3): 46-57 MAX ERNST: "THE HUNDRED HEADLESS WOMAN" AND THE ETERNAL RETURN H.J. JANSE VAN RENSBURG Department of Fine Arts and History of Art University of Pretoria In sy kuns van die 1920's reageer Max Ernst voortdurend op die denke van die filosoof Friedrich Nietzsche. Hierdle studie benader die collage-roman. The Hundred Headless Woman, vanaf die vertrekpunt van Nietzsche se konsep van die 'ewige wederkeer', gesuggereer deur beelde in die roman. Die studie plaas die konsep van die 'ewige wederkeer' kortliks binne 'n ikonografiese konteks, en ondersoek sentrale beelde in Ernst se reaksie op die konsep. Ernst se dissonante ooreenlegging van betekenislae en sy weerlegging van rasionaliteit, word oorweeg in terme van die disorientering van tyd, lineere denke en die beginsel van identiteit wat geimpliseer word deur die perspektivisme van Nietzsche se konsep van die 'ewige wederkeer'. Die studie argumenteer dat Ernst se gebruik van Nietzsche se idees en konsepte besonder gesofistikeerd is, en suggereer dat hy sommige van die belange in die herinterpretasie van Nietzsche in die onlangse Franse filosofie vooruitloop. Max Ernst often responded to the thought of the philosopher Friedrich Nietzsche in his art in the 1920's. This study approaches the collage-novel, The Hundred Headless Woman, from the perspective of Nietzsche's concept of the 'eternal return', suggested by imagery in the novel. The study offers a brief iconographical context for the concept of 'eternal return', and examines key images in Ernst's response to this concept. The discordant superimposing of layers of meaning and the refutation of rationality in the novel are considered in terms of the disorientation of time, seriality and the principle of identity implied by the perspectivism of Nietzsche's concept of the 'eternal return'.
[Show full text]
Material Language in Max Ernst Collage Novel Une Semaine De
Material Language in Max Ernst Collage Novel Une Semaine de Bonté A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfilment of the requirements for the degree of Master of Arts in the School of Art of the College of Design, Architecture, Art, and Planning by Samuel Morren B.A. University of Cincinnati August 2014 Committee Chair: Kristopher J. Holland, Ph.D. 1 Abstract In this project, we want to reinterpret Max Ernst’s collage novel, Une Semaine de Bonté (A Week of Kindness, 1934). Traditionally, this work of art has been studied through a psychoanalytic or formal frame. However, Ernst's work is not just inspired by traumatic childhood experiences. His work is an observation/critique of a society in chaotic, hopelessness, and incertitude change. Ernst was a voracious artist, who sought knowledge in all aspects of life, he studied philosophy, art history, history, literature, psychology; abnormal psychology, and psychiatry, as well as theology. These forms of knowledge gave him a deep well from where to draw references, referents, and inspiration to camouflage his message between two unrelated elements in an image. In our world, meaning is mediated through language, visual culture, and culture, which create a referent, framing our world view. Furthermore, this framed world view, is also mediated by the observers’ experiences through their world. Thus, our interpretation is framed, influenced, and informed through Tony Fry’s concept of ‘human design’ and Jean Baudrillard’s concept of simulacrum. Thus, trying to go beyond the iconology, iconography, materials; and we ask: Why does Ernst create such images? Why call this a novel when there is a limited narrative? What are Ernst's concerns when creating these images? With this project, we demonstrate Ernst's novel is still significant because the novel still asks from us the same questions as when it was constructed.
[Show full text]
Download Download
Vol 1 (2011) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2011.27 http://contemporaneity.pitt.edu “The Man of these Infinite Possibilities” Max Ernst’s Cinematic Collages Abigail Susik Abstract On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-dimensional media such as painting and drawing, which remained frozen in stillness. Thus, Ernst’s images were provocative witnesses to the way in which modern technology fundamentally altered the perspectivally-ordered picture plane. But at the same time that Ernst’s collages rendered painting obsolete, they likewise depended upon fragments of outmoded popular culture themselves. For Breton, Ernst was a magician, “the man of these infinite possibilities,” comparable to cinematic prestidigators like turn-of-the-century filmmaker Georges Méliès. By drawing on the influence of recently outmoded popular culture such as early trick films, Ernst provides a crucial early example of the post-war fixation on counter-temporalities and anti-production. At once technologically advanced and culturally archeological, Ernst’s collages cannily defy strict categorization as “Modernist.” About the Author Abigail Susik is the 2009-2011 Postdoctoral Teaching Fellow in Art History at Millsaps College in Jackson, Mississippi.
[Show full text]
The Collage Novel's Uses of the Readymade in Tom Phillips's a Humumentand Graham Rawle's Woman's World**
Wojciech Drąg* The Collage Novel’s Uses of the Readymade in Tom Phillips’s A Humument and Graham Rawle’s Woman’s World** DOI: http://dx.doi.org/10.12775/LC.2020.041 Theft is a sine qua non of collage, a form which depends on a juxtaposition of elements wrenched from diverse contexts. The appropriated fragments, or readymades, in the form of newspaper cuttings, objects of everyday use or photographs, are planted into a new envi- ronment, that of a canvas or a sheet of paper. However well the stolen elements are integrat- 127 ed with the other components, collage remains, according to Rosalind Krauss, “sustained by an absent origin” (1981: 20). The source, although eradicated, tends to persist in subtle ways. The aim of this article is to examine the uses of the readymade and the absence/ presence of the original source in two unique collage works: Graham Rawle’s Woman’s World: A Novel (2005) and the final edition of Tom Phillips’sA Humument: A Treated Vic- 3(35) 2020 torian Novel (2016)1. The appropriated material will be examined with regard to its visual representation, the degree of its acknowledgement and its function in the work. * PhD in literature; assistant professor at the Institute of English Studies, University of Wrocław. His research interests focus on contemporary experimental and multimodal literature in English, collage and microfiction. E-mail: [email protected] | ORCID: 0000-0002-9089-2465. ** The part of the article concerned with Woman’s World draws on the research that went into the publi- cation of my monograph Collage in Twenty-First-Century Literature in English: Art of Crisis, which was released in 2020 by Routledge.
[Show full text]
Towards a Rhetoric of Collage: Reading and Repetition Across Mode and Media 313
PRZEGLĄD KULTUROZNAWCZY NR 4 (26) 2015, s. 312–325 doi: 10.4467/20843860PK.14.021.4595 www.ejournals.eu/Przeglad-Kulturoznawczy/ Michael Heitkemper-Yates Kobe University, Japan GU IDEI Ę W KR TOWARDS A RHETORIC OF COLLAGE: READING AND REPETITION ACROSS MODE AND MEDIA1 Abstract: No longer confi ned to the analysis of the word on the page, contemporary narratology has expanded to defi ne and critique a dizzying array of media theories and textual practices – from Marshall McLuhan’s media-messaging to Henry Jenkins’s media-convergence, from political cam- paigns to Star Wars, and from virtual gameworlds to multimedia storyworlds – and yet scant atten- tion has been paid to the formative role played by collage as both a transmedial narrative structure and a dominant form of multimodal practice. This paper represents an attempt to better defi ne the theory and practice of collage and collage narrative, and, in so doing, to make the case for a more holistic approach to the defi nition of collage and the rhetoric of the various reading strategies em- ployed in comprehending the patterns and messages conveyed by the collage. Beginning with an assessment of the narrativity of collage, this paper considers the commu- nicative and structural poetics involved in modernist visual parody and postmodern textual art, and how these collage elements are also integral to the visual poetics of contemporary graphic storytell- ing. Citing examples from Marcel Duchamp, Donald Barthelme, and Chris Ware, this brief study represents an attempt to better defi ne the theory and practice of collage and collage narrative, and, thereby, provide a means of more accurately understanding the rhetorical processes involved in the creation and comprehension of collage as a storytelling mechanism.
[Show full text]
On Valerie, Nezval, Max Ernst, and Collage: Variations on a Theme by Giuseppe Dierna in Place of a Prologue Vítězslav Nezval 1
On Valerie, Nezval, Max Ernst, and Collage: Variations on a Theme by Giuseppe Dierna The Reverend Father Dulac Dessalé: “Rise, bride of Jesus. Follow me, my beauty, to the cracks in the walls, I who am called cock- roach and kill-joy . .” 1 in place of a prologue Vítězslav Nezval’s Valerie and Her Week of Wonders was written in 1935 at the height of Surrealist activity in Czechoslovakia, but stayed tucked away in a drawer for a decade before being pub- lished. Perhaps the most surrealistic of Nezval’s fiction, it is a text where the Gothic novel and dream theory combine to produce one of his more compelling works.2 the gothic novel Valerie clearly belongs to the tradition of both the roman noir and the serial novel — tales dispensed in weekly booklets quickly crum- pled by impatient readers — by virtue of the author’s deliberate use of some of the compositional elements that define this particular literary genre.3 The entire plot, for example, revolves around a sin- gle protagonist, and the narrative structure is broken into short 199 chapters where many things happen — a repeating microstructure that concludes with a sudden, unexpected turn of events. Nezval, however, has stripped these devices of their earlier function, which was to keep the reader’s attention and pique interest for further installments. And if we are to adopt Louise Reybaud’s definition, the genre is also defined by a typical constellation of characters: Take a young, unhappy, persecuted woman. Place next to her a brutal blood-thirsty tyrant, a refined, virtuous squire, and a hypocritical, perfidious confidant.
[Show full text]
'Alice Undone': Re-Reading the Work of Max Ernst and Dorothea Tanning
Edinburgh Research Explorer Surrealism's Curiosity Citation for published version: McAra, C 2011, 'Surrealism's Curiosity: Lewis Carroll and the Femme-Enfant', Papers of Surrealism, vol. 9, pp. 1-25. <http://www.surrealismcentre.ac.uk/papersofsurrealism/journal9/index.htm> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Papers of Surrealism Publisher Rights Statement: © McAra, C. (2011). Surrealism's Curiosity: Lewis Carroll and the Femme-Enfant. Papers of Surrealism, 9, 1-25. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 © Catriona McAra, 2011 Surrealism’s Curiosity: Lewis Carroll and the Femme-Enfant Catriona McAra Abstract This paper concerns surrealist artists‟ and writers‟ appropriation of Lewis Carroll. Predominantly focusing on the work of Dorothea Tanning and Max Ernst, it suggests that Carroll‟s work appealed to the surrealists‟ fascination with their childhood selves, and their wish to identify with the curious character of Alice as femme-enfant as a way of subverting their bourgeois family backgrounds.
[Show full text]
Semaine De Bonte: a Surrealistic Novel in Collage PDF Book
SEMAINE DE BONTE: A SURREALISTIC NOVEL IN COLLAGE PDF, EPUB, EBOOK Max Ernst,Stanley Appelbaum | 208 pages | 27 Feb 1978 | Dover Publications Inc. | 9780486232522 | English | New York, United States Semaine de Bonte: A Surrealistic Novel in Collage PDF Book Rating details. You know the saying: There's no time like the present The introduction gives the basic background to the creation of this collection and the translations English are clear and set against the original French text so one gets a sense of the original. Many of the figures in this section of Ernst's "novel" have the head of a lion. The element of Thursday , "blackness", has two examples instead of one. The collages are a delight to the eye, Max Ernst is definately at his peak here. Apparently he made these collages well sick in bed in the hospital, they have a dark and creepy undertone but are also wildly beautiful. Apr 17, Ed Erwin rated it liked it Shelves: wordless , art. Works like this tend to fall out of art history: artworks that can't easily be displayed in a gallery or in an art book. Dec 27, Peter rated it it was amazing Shelves: art. Description "One of the clandestine classics of our century. Aug 12, Allan Olley rated it liked it. The Sphinx, also associated with Oedipus, makes a brief guest appearance. By: Max Ernst. Weird, fantastical, uncanny images full of beauty and violence. Concerning the Spiritual in Art. Nobody can give a precise answer and that is part of the app This work is pure genius! Get a Picture.
[Show full text]
The Originality of the Avant-Garde and Other Modernist Myths
The Originality of the A vant-Garde and. Other Modernist Myths The Originality of the A vant-Garde and Other Modernist Myths Rosalind E. Krauss The MIT Press Cambridge, Massachusetts London, England First MIT Press paperback edition, 1986 © 198 5 by Rosalind E. Krauss All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Printed and bound in the United States of America. Library of Congress Cataloging in Publication Data Krauss, Rosalind E. The originality of the avant-garde and other modernist myths. Includes bibliographical references. 1. Avant-garde (Aesthetics)-History-20th century. 2. Modernism (Art)-Themes, motives. 3. Creation (Literary, artistic, etc.)-Psychological aspects. I. Title. N6490.K727 1984 709'.04 84-11315 ISBN 0-262-11093-8 (hb), 0-262-61046-9 (pb) ISBN-13: 978-0-262-11093-8 (hb), 978-0-262-61046-9 (ph) 2019 For Annette Michelson Contents Acknowledgments zx Introduction 1 I Modernist Myths Grids 8 In the Name of Picasso 23 No More Play 1:2 The Photographic Conditions of Surrealism 87 This New Art: To Draw in Space 119 Photography's Discursive Spaces 131 The Originality of the Avant-Garde 151 Sincerely Yours · 171 II Toward Postmodernism Notes on the Index: Part 1 196 Notes on the Index: Part 2 210 Reading Jackson Pollock, Abstractly 221 Le Witt in Progress 21:1: Richard Serra, a Translation 260 Sculpture in the Expanded Field 276 Poststructuralism and the Paraliterary 291 Credits 297 Index 301 Acknowledgments Several contexts have supported the work that is brought together in this book.
[Show full text]
Catalogue 346 URSUS RARE BOOKS, LTD
Catalogue 346 URSUS RARE BOOKS, LTD. 50 East 78th Street, Suite 1C New York, New York 10075 Tel: (212) 772-8787 e-mail: [email protected] [email protected] Please visit our website at: www.ursusbooks.com Shop Hours: Monday - Friday 10:30 - 6:00 Saturday By Appointment All prices are net. Postage, packing and insurance are extra. Cover Images: No. 19 Derain Please inquire for further images and complete descriptions Catalogue 346 Ursus Rare Books New York City 1. Josef ALBERS. Interaction of Color. Two volumes. 80; 48 pp. Illustrated with eighty colour screenprint plates. Folio, plates loose as issued in the original folding cloth box and matching slipcase. New Haven: Yale University Press, 1963. $ 9500.00 A legendary classic in the field of colour theory and also a major twentieth-century American illustrated book. The text and eighty silk-screened plates form a summation of Albers’ teachings in colour relatedness. He demonstrates the facets of colour changes, illusions, and influences produced by the multiple “interactions of color.” An indispensable document of modern American art, issued in an unspecified limited edition, and now scarce. A fine copy. (#168421) 2. Lawrence ALLOWAY. Artists and Photographs. Folio, as issued in the original illustrated cardboard box designed by Dan Graham, housed in a new linen cloth box. New York: Multiples, Inc., 1970. $ 19,750.00 An immaculate copy of this legendary pop art box, which contains editions by 19 artists and a softcover brochure. This copy is very clean and is complete, including the rare Gormley multiple. Edited by Marian Goodman with text by Lawrence Alloway.
[Show full text]
Max Ernst's Post-World War I Studies in Hysteria
37 Max Ernst’s Post-World War I Studies in Hysteria Samantha Kavky Pennsylvania State University, Berks Campus In 1920 and 1921, the Cologne Dadaist Max Ernst produced a series of collages remarkable for their technical innovation and visual strangeness. Ernst’s unconventional artistic practices situate the collages firmly within the iconoclastic aims of the Dada movement, yet his fantastic imagery suggests an early exploration into the realm of the unconscious, prompting many scholars to view these works as proto-Surrealist.1 I view his collages, completed before he left for Paris in 1922, not only as precursors to Surrealism, but as central to the movement’s research into psychoanalytic theory and the development of its visual practice.2 Sigmund Freud’s psychoanalytic works, particularly his writings on hysteria, greatly inform Ernst’s artistic practice and subject matter during this period, forming a basis for his later Surrealist experiments.3 I argue that, motivated by the pervasiveness of war hysteria or shell shock as a diagnosis during and after World War I, and his own experiences of trench warfare, Ernst adopts the perspective of a male hysteric in his images of war torn landscapes and the dismembered or hysterical bodies of both men and women. I argue further that he presents the viewer with a world filtered through neuroses as a subversive challenge to the patriarchal institutions of authority responsible for the war, rather than as a symptom of victimization. In the years prior to World War I, Ernst studied psychiatry at the University of Bonn and became familiar with the writings of Freud.
[Show full text]