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Ernst Diapow.Pdf la Naissance de Vénus, Le Jardin de la France, 1863, Paris, hst, 130 x 225 cm. 1962, Paris, hst, 114 x 168 cm Musée d’Orsay Centre Pompidou, MNAM/CCI. S’inspirant du tableau la Naissance de Vénus, qui est achetée par Napoléon III en 1863, du peintre «Pompier» Alexandre Cabanel (1823 - 1889) Max Ernst réalise le tableau qu’il nomme le Jardin de la France. L’élégance des formes de la Vénus de Cabanel va lui inspirer cet hom- mage à la Touraine et à ses paysages. MAX ERNST 1891-1976 Max Ernst est un peintre et sculpteur dada puis sur- réaliste. Il est né en 1891 à Brühl, en Allemagne dans une famille de la bourgeoisie catholique. Son père l’initie à la peinture, Max Ernst apprend le dessin lors de promena- des dans la forêt, une source d’inspiration pour les paysages fantastiques qu’il peindra ensuite. Il abandonne ses études en philosophie et his- toire de l’art, pour se consacrer à la peinture. Il participe aux réunions du Der Blaue Reiter et rédige des critiques d’art pour un journal de Bonn. En 1913, il expose ses premières œuvres à Berlin. Les toiles présentées révèlent des influences cubiste, futuriste et expressionniste. Durant la Première Guerre mondiale, il sert dans l’armée allemande. Après la guerre, Max Ernst souhaite se consa- crer à la critique d’art et établit des contacts avec des groupes d’avant-garde. Son sentiment de désillusion provoqué par la guerre, son esprit de révolte contre les conventions le font s’intéres- ser au mouvement Dada. Il s’établit à Cologne où, avec Jean Arp, il créa un foyer dada. Max Ernst. Le Rossignol chinois,1920 Photomontage, 12,2 x 8,8 cm Musée de Grenoble En 1922, il rejoint la communauté artistique de Montparnasse et le groupe surréaliste, dont il devient membre. Max Ernst investit le champ des rêves et de l’absurde par la création d’un bestiaire fantastique, de machineries loufoques et de mondes ima- ginaires. Très vite, sa créati- vité nourrie du romantisme et du fantastique germaniques, l’amène à devenir une figure majeure du surréalisme. Ubu Imperator, 1923, Huile sur toile, 81 x 65 cm, Adagp, Paris 2007 Il élabore des procédés de travail qui lui permettent d’ef- facer les traces de son travail. Cela le démarque des Cubistes et des artistes Dada, pour qui ces traces font partie de la composition iconographique finale. Il invente le «frottage», il utilise le «grattage» de pigments sur ses toiles, et crée des «romans-collages» sur le principe de l’association libre (La Femme cent têtes, 1929). Par ailleurs, Ernst développe une fascination pour les oiseaux, qui dominent son œuvre. Il crée pour ses toiles un alter ego, Loplop. En quête permanente de nouveaux supports d’expression, Max Ernst peint une fresque murale dans la maison de Paul Éluard à Eaubonne, et réalise, en compagnie de Joan Miró, les décors de Roméo et Juliette (1926) pour les Ballets russes de Serge de Diaghilev. Il apparaît dans le film de Luis Buñuel, l’Âge d’or (1930). Max Ernst dans le film de Luis Bunuel «L’Age d’or», en 1930. Ernst et son alter ego, Loplop. M a x E r n s t s’invente un alter ego, l’oiseau Loplop. Tout au long de sa vie l’oiseau est une des figures récurrente qui apparaît dans son travail Dans le bassin de Paris, Loplop, le supérieur des oiseaux, apporte aux réverbères la nouriture nocturne, Planche 11 de la Femme 100 têtes, Paris, 1929 Gravures découpées collées sur papier collé sur carton, 16,20 x 14,70 cm Centre pompidou, MNAM Paris. Loplop Introduces Loplop. 1930. Huile et matériaux divers sur bois. Collection privée. 100 x 180 cm. Ernst et le collage En 1933, Max Ernst part en Italie. Là, il compose en trois semaines 182 col- lages à partir d’ouvrages français illustrés en noir et blanc de la fin du XIXe siè- cle. De retour à Paris, il les publie dans un ouvrage en cinq volumes appelé Une semaine de bonté ou les sept éléments capitaux, chacun de couleur diffé- rente d’avril à septembre 1934 aux éditions de la ga- lerie Jeanne Bucher . Une semaine de Bonté ou les sept éléments capitaux, roman-collage Gravures découpées collées sur papier collé sur carton, dimensions variable Collection Daniel Filipachi et Isidore DucasseFoundation, New York. Ernst et le grattage La forêt 1927 grattage et huile sur toile, 80,7 x 100 cm, Musée de Grenoble Dans son tableau l’Europe après la pluie, Max Ernst a suivi une démarche créative typiquement surréaliste, c’est-à-dire qu’il a «reçu» ses idées plutôt que de les «émettre». Pour cela, il a recouvert sa toile d’une gamme de couleurs terre, allant de l’ocre à la terre verte, il y a plaqué de grandes feuilles de papier aussitôt retirées. Une texture est apparue. Il a laissé sécher la surface, l’a longuement regardée jusqu’à ce que des éléments suggestifs s’imposent à son imaginaire. Il lui a suffi dès lors de les mettre en évidence en retenant ceux qui lui convenaient, c’est-à-dire en sélectionnant les contours par la couleur couvrante du bleu du ciel, en renforçant certaines ombres et certaines lumières et, pour finir, en ajoutant quelques détails issus de sa propre matière psychique. l’Europe après la pluie, II 1940-1942, grattage et huile sur toile, 55 x 148 cm, col. particulière Ernst et le frottage FROTTAGE - Procédé découvert par Max Ernst le 10 août 1925. « Le procédé de frottage, ne reposant que sur l’inten- sification de l’irritabilité des facultés de l’esprit par des moyens techni- ques appropriés, excluant toute conduction mentale conscien- te, réduisant à l’extrême la part active de celui qu’on appelait jusqu’alors l’« auteur », ce pro- cédé s’est révélé le vérita- ble équivalent de l’écriture automatique. » (M.E.) Définition du Dictionnaire abrégé du surréalisme L’Unique et sa propriété 1925. Frottage, crayon sur papier. 26 x 20 cm. Col. particulière Recette du frottage : prenez un morceau de papier et po- sez-le sur un plancher de bois ou sur n’importe quelle surfa- ce présentant une anomalie quelconque. Frottez le papier avec un crayon. Regardez le résultat et rêvez. Enfin effa- cez, ajoutez quelques coups de crayons et votre image est faite ! Appliquant ce procédé, Ernst fait apparaître oiseaux enchan- teurs, rhinocéros, pupilles éblouies, végétation in- connue ou astres mystérieux. Photographies Victor Shamoni, Max Ernst travaillant dans son atelier de Huismes, 1963, Munich, col. Peter Shamoni. Ernst et les surréalistes Très lié à Giacometti, l’artiste débute la sculpture en 1934, et modèle des créatures propres à sa mythologie person- nelle (Le Roi jouant à la reine, 1944). En 1938, l’héritière américaine Peggy Guggenheim achète un bon nombre d’œuvres de Max Ernst qu’elle expose dans son nou- veau musée à Londres. Le roi et la reine Bronze, 1954 Col. particulière Microbe vu à travers un tempérament 1964, bronze, 3,19 x 0,85 x 0,61 m, Mnam/Cci, Centre Georges Pompidou. Les surréalistes (Photo 1930) De gauche à droite : Tristan Tzara, Paul Eluard, Andre Breton, Hans Arp, Salvador Dali, Yves Tanguy, Max Ernst, Rene Crevel, Man Ray Au rendez-vous des amis, où ils figurent en compagnie de Raphaël et de Dostoïevski ; on peut reconnaître aussi dans ce tableau Ernst lui-même, Fraenkel, Paulhan, Péret, Baargeld, et Paul et Gala Eluard, Soupault, Arp, Max Morise, Aragon et De Chirico. Ernst en amérique Au début de la 2e Guerre mondiale, Max Ernst est arrêté, il réussit à fuir la France grâce à Peggy Guggenheim. Il arrive à New York en 1941, il côtoie des peintres d’avant- garde comme Marcel Duchamp et Marc Chagall. En pratiquant des écla- boussures sur ses toiles, Max Ernst invente le dripping, repris quelques années plus tard par Jackson Pollock. En octobre 1946, il épouse Dorothea Tanning à Beverly Hills, (Californie) Ils s’installent à Sedona, dans le désert de l’Arizona. Il rencontre les Indiens Hopis et leurs chamans. À partir de 1953, il s’installe définitivement à Paris, l’année suivante il gagne le Grand prix de la biennale de Venise. Grâce à la publicité occasionnée par cet événement, il commence à connaître un certain succès financier. Ce qui lui vaut l’exclusion du mouvement surréaliste. Design in nature, 1947. Huile sur toile, 50,8 x 66,7 cm. The Menil Collection, Houston Ernst en Touraine En 1955, il emménage avec Dorothea Tanning à Huismes près de Chinon en Touraine. Peter Schamoni, Max Ernst dans son atelier photographie couleur Huismes, 1963, Brühl, Max Ernst Museum Après moi le sommeil, 1958, hommage à Paul Eluard hst, 130 x 89 cm 1958, Paris, Centre Pompidou, MNAM/CCI. Pour les ami d’Alice hst, 116 x 90 cm 1957, Tourtour, Fondation des Treilles. En 1968, il déménage dans une petite ville du sud de la France, Seillans. Il crée les décors d’un théâtre et une fon- taine dans la ville d’Amboise. En 1975, une rétrospective a lieu au Musée Solomon R. Guggenheim à New York et les Galeries Nationales du Grand Palais de Paris publient un catalogue complet de ses œuvres. Fontaine dans la ville d’Amboise Max Ernst meurt le 1er avril 1976 à Paris. Tout au long de sa vie, Max Ernst, « l’homme des possibilités infinies » selon André Breton, et expérimentateur infatigable, a cherché les moyens de transcrire en deux ou trois dimen- sions le monde du rêve et de l’inconscient.
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