Figure 1950 by Max Ernst, 1891-1976

Max Ernst, 1891-1976
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Figure 1950

Original etching with aquatint in black ink. 1950. Signed in pencil. Numbered 1 in pencil from the edition of 30 impressions only. (There were about 5 trial proofs). Printed at the studio of Georges Visat, Paris 1950. Published by Zerbib, Paris 1950. Extremely rare - Not known at the time of the Geneva Musée d'Art Exhibition in 1970. Provenance: Private Collection, France. Bought Paris c.1960.
Ref: Brusberg-Max Ernst no 69. Spiess-Leppien Ernst no 37.

Brilliant rich impression with strong tone. On pale cream textured wove BFK paper. Excellent original condition; not restored. Full margins. Sheet: 12 7/8 x 9 7/8ins. Plate: 9 1/4 x 7 ins (237x177mm).

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Figure is one of the very rarest and most important etchings from the crucial period of Ernst?s graphic work at the beginning of the 1950?s. We know of no other impression which has appeared on the market in recent times. It is an inspired example of how, at this date, experimentation with technique and thematic imagination came together to create prints which stand as key expressions of Ernst?s art.

The period 1949/50 was one of vital importance in Ernst?s work. Paris was just beginning to come to life again as the centre of modern art after the War. Even though Ernst?s exhibition organised by Paul Eluard in 1945 had not been a commercial success it had established his position amongst the most important Surrealist painters. It was also at this period that Ernst reached a pinnacle of creative inspiration in the medium of etching. In New York in the early 1940?s he had been deeply excited by the print experimentation taking-place at Hayter?s Atelier 17. Back in Paris he started to work almost immediately with Georges Visat at his studio. Visat showed him how to experiment with new techniques and random effects.

Figure is a superlative example of the stimulation and inspiration that Ernst found in printmaking at this date. The form derives from the subconscious dream-images, and from the figure-like shapes conjured-up by hallucination or drugs with which many of the Surrealists were experimenting in the years just before the War. However its being, its atmosphere and presence, stem directly from the totally personal inventive use of etching-plate technique with which Ernst was fascinated at this date.