Max Ernst (b. Germany, 2 April 1891 – 1 April 1976)


Self-Portrait, 1909 
18 x 12 cm. 

Fruit of a Long Experience, 1919
Painted wood relief, 45.7 x 38 cm
Private collection, Geneva

Hat in Hand, Hat on Head, about 1919
Oil on board, 36.80 x 29.20 cm
National Galleries of Scotland

The Hat Makes the Man, 1920. 
Gouache, pencil, oil, and ink on cut-and-pasted printed paper on paper, 35.2 x 45.1 cm. 

The Horse, He's Sick [Un peu malade, le cheval]. (1920)
Cut-and-pasted halftone relief, graphite and gouache on halftone relief on paper, 14.6 x 21.6 cm.
The Museum of Modern Art, New York.

Celebes, 1921
Oil on canvas, 125 x 108 cm
Tate Modern, London

Approaching Puberty or The Pleiads, 1921.
Gouache and oil on paper, all on cardboard, 24.5 x 16.5 cm.
Rene Rasmussen Collection, Paris

 The Wavering Woman, 1923
Oil on canvas, 130.5 x 97.5 cm
Kunstsammlung Nordrhein-Westfalen, Dusseldorf

 Ubu Imperator, 1923
Oil on canvas; 39 3/8 x 31 7/8 in. (100 x 81 cm)
Centre Georges Pompidou, Musée National d'Art Moderne, Paris

 Ohne Titel, 1923
Painted door from the house of Paul Éluard in Eaubonne
Oil on wood, 205 x 79 cm
Sprengel Museum Hannover

 At the First Clear Word, 1923.
Oil on plaster mounted on canvas, 232 x 167 cm. 
Kunstsammlung Nordrhein-Westfalen, Dusseldorf 

Pieta or Revolution by Night, 1923.
Oil on canvas, 116 x 89 cm
Tate Gallery, London

Le Couple, 1923.
Oil on canvas, 101.5 x 142 cm
 Museum Boijmans Van Beuningen

The Blessed Virgin Chastises the Infant Jesus Before Three Witnesses: A.B., P.E. and the Artist, 1926
Oil on canvas; 77 1/4 x 51 1/4 in. (196 x 130 cm)
Museum Ludwig, Köln

The Forest, 1927–28. 
Oil on canvas, 96.3 x 129.5 cm. 
Peggy Guggenheim Collection, Venice  

 Human Form. 1931. 
Oil and plaster on wood. 183 x 100 cm. 
Moderna Museet, Stockholm, Sweden.

The Joy of Life, 1936
Oil on canvas, 73.50 x 92.50 cm
National Galleries of Scotland

The Barbarians, 1937
Oil on cardboard, 9 1/2 x 13 in. (24 x 33 cm)
 The Metropolitan Museum of Art

 The Fireside Angel, 1937
Oil on canvas; 44 7/8 x 57 1/2 in. (114 x 146 cm)
Private collection

Attirement of the Bride, 1940. 
Oil on canvas, 129.6 x 96.3 cm. 
Peggy Guggenheim Collection

Le Déjeuner sur l'Herbre, 1944
The Cleveland Museum of Art

 The Eye of Silence, 1943/44
Oil on canvas, 108 x 141 cm
Washington University Art Gallery, Saint Louis, MO

The King Playing with the Queen, 1944 (cast 1954) 
Bronze, 37 7/8 x 33 x 21 1/8 in. (96.2 x 83.8 x 53.7 cm.)
Raymond and Patsy Nasher Collection, Dallas, Texas

 Feast of the Gods, 1948   
153 x 107 cm., Museum des 20. Jahrhunderts, Vienna

 Beauty of the Night, 1954  
Oil on canvas, 129.8 x 89.2 cm.
The Hirshhorn Museum

The Dark Gods, 1957.
Oil on canvas, 116x89 cm.
Folkwang Museum, Essen

33 Little Girls Chasing Butterflies, 1958
Oil on Canvas, 137x107 cm
Thyssen-Bornemisza Museum, Madrid


The Garden of France, 1962
Oil on canvas; 44 7/8 x 66 1/8 in. (114 x 168 cm)
Centre Georges Pompidou, Musée National d'Art Moderne, Paris

Northern Light at the Northern Rhine, 1968 
Oil on wood, 51 x 43 cm. 

 Birth of a Galaxy, 1969   
Oil on canvas, 92 x 73 cm.
Galerie Beyeler, Basel

 The Hundred-headless Woman Opens her August Sleeve, 1929
Illustration for "La femme 100 tê
Collage, 32.7 x 16.9 cm
The Menil Collection, Houston

La femme 100 têtes was the first collage novel. The title itself is a collage of meanings: The woman a hundred heads as well as The headless woman - and there are more possibilities than '100 têtes', 'sans tête', 's'entête' or 'sang tête'. Nine chapters 'tell' the story of a woman who is believed by some to be Mary. Her name is Wirrwarr, Perturbation and Germinal ('my sister', camping out alone between phantoms and ants). As each page contains a single print with a brief subtitle (the legend), the reader mostly follows the trail of the illustrations. Although they are intentionally confusing, the subtitles are crucial in meaning. In the first chapter for instance, the consecutive collages as a whole appear to reject the dogma of the Virgin Birth. The legends were also published subsequently by Ernst under the title Le poème de la femme 100 têtes (1959). (Source)

German painter, printmaker and sculptor, naturalized American in 1948 and French in 1958. He was a major contributor to the theory and practice of Surrealism. His work challenged and disrupted what he considered to be repressive aspects of European culture, in particular Christian doctrine, conventional morality and the aesthetic codes of Western academic art. Until the mid-1920s he was little known outside a small circle of artists and writers in Cologne and Paris, but he became increasingly successful from c. 1928 onwards. After 1945 he was respected and honoured as a surviving representative of a ‘heroic’ generation of avant-garde artists. (Source: Oxford University Press)