Max Ernst프랑스, 1891–1976Fruits
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〈Fruits〉는 지금 어디에 있나요? 소장처: 시카고 미술관, 시카고. 현재 전시하지 않습니다. 확인일 2026년 11월 2일.
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This large and impressive sheet is an example of frottage, a method of laying paper on top of a textured surface and rubbing over it with pencil, which Max Ernst introduced to avant-garde artmaking in 1925. The border of Fruits, with its softly rendered rubbings from wood grain, show the classic signs of frottage, while the central still life, turned on its axis and appearing to float in space, has a compositional clarity that is difficult to achieve with this method.
Ernst used frottage to expand the possibilities of art by surrendering some control when creating a design. In the process of subverting classic principles of drawing, however, he ironically created a work of exceptional graphic sensibility, balance, and skill.
시카고 미술관CC BY 4.0
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- 소장품 번호
- 2019.846
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Max Ernst의 생애 속 이 작품
생애 전체 보기1923
The Salon des Indépendants: a warm welcome from the Cubists
In 1923 Ernst exhibited at the Salon des Indépendants: the critics ignored his work, but the Cubists Georges Braque, Juan Gris and Louis Marcoussis responded warmly. La belle jardinière, shown there, was bought the next year by the Düsseldorf exhibition centre and later removed at the Nazis’ demand; in 1937 Ernst saw it in a photograph of the “degenerate art” exhibition, and it was most likely destroyed.
1924
To Saigon after the Éluards
In March 1924 Paul Éluard abruptly left for Monaco and then for Vietnam. To raise the fare Ernst sold paintings to the gallery owner Johanna Ey; he met Éluard and Gala in Singapore and Saigon, but Gala stayed with Paul. Ernst went on exploring South-East Asia for several more months.
1926
“Histoire naturelle”: a portfolio of frottages
At Jeanne Bucher’s press Ernst published Histoire naturelle, a portfolio of drawings in the frottage technique, with an introduction by Hans Arp.
1926
The first large show at Galerie van Leer
In 1926 the Paris gallery van Leer held Ernst’s first large exhibition; in place of a preface the catalogue printed poems by Paul Éluard, Benjamin Péret and Robert Desnos.
1926
Diaghilev’s ballet and Breton’s scandal
In 1926 Ernst and Joan Miró designed Romeo and Juliet for Sergei Diaghilev’s company; Breton, indignant at the work with the Ballets Russes, made a scandal at the premiere, and in La Révolution surréaliste he and Aragon accused Ernst and Miró of belittling the idea of surrealism. The next issue, however, carried two of Ernst’s works with an apologia by Éluard.
1927
Married: Marie-Berthe Aurenche
