{"id":166386,"date":"2025-02-03T15:28:26","date_gmt":"2025-02-03T06:28:26","guid":{"rendered":"https:\/\/www.momat.go.jp\/?post_type=magazine&p=166386"},"modified":"2025-02-05T11:33:32","modified_gmt":"2025-02-05T02:33:32","slug":"208","status":"publish","type":"magazine","link":"https:\/\/www.momat.go.jp\/en\/magazine\/208","title":{"rendered":"Max Ernst\u00a0Desert Flower (Desert Rose)\u00a01925"},"content":{"rendered":"
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Max Ernst 
Desert Flower (Desert Rose)<\/em> 
1925 
Oil and pencil on canvas 
75.0 \u00d7 59.0 cm 
Purchased 2023 
\u00a9 ADAGP, Paris & JASPAR, Tokyo, 2024 X0306 <\/figcaption><\/figure><\/div>\n\n\n

Many people have childhood memories of making rubbings by pressing paper over a coin and applying a pencil. Instead of coins, Max Ernst used primarily natural objects and materials such as wood grain, leaves, shells, and string to produce enigmatic shapes, which he used as the basis for new images. He called this method \u201cfrottage,\u201d and described its discovery on August 10, 1925:  <\/p>\n\n\n\n

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\u201cOne rainy evening in a seaside inn, I was struck by the obsession that showed to my excited gaze the floor-boards upon which a thousand scrubbings had deepened the grooves. I decided then to investigate the symbolism of this obsession and, in order to aid my meditative and hallucinatory faculties, I made from the boards a series of drawings by placing on them, at random, sheets of paper which I undertook to rub with black lead.\u201d1<\/sup><\/p>\n<\/blockquote>\n\n\n\n

Ernst was a central figure in the Surrealist movement. Surrealism, led by the poet Andr\u00e9 Breton, was one of the most influential art movements of the 20th century. Breton\u2019s 1924 Surrealist Manifesto<\/em> defined it as \u201cpsychic automatism in its pure state, by which one proposes to express \u2013 verbally, by means of the written word, or in any other manner \u2013 the actual functioning of thought. [Surrealism is] dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.\u201d2<\/sup> While Surrealism began as a literary movement, it soon expanded to painting, and techniques like frottage exemplified its embrace of automatism. Ernst noted the automatic quality of frottage, writing that through the technique he \u201csucceeded in looking on like a spectator at the birth of pictures.\u201d3<\/sup> <\/p>\n\n\n\n

The results of his frottage experiments were compiled in Natural History (Histoire naturelle)<\/em> (1926), a portfolio of 34 works featuring bizarre forms resembling fish, birds, horses, and human eyes. Desert Flower (Desert Rose)<\/em> was produced during this period. The vertically elongated canvas depicts what seems to be a female figure with her right index finger raised on the left side, a crumbling wall on the right, and a clear blue sky in the background. Closer examination reveals frottage textures in the woman\u2019s head and body. A realistically rendered red corsage on her left breast (evidently related to the work\u2019s title) demonstrates Ernst\u2019s use of multiple techniques in a single painting. <\/p>\n\n\n\n

This work is an important example of Surrealist painting and was reproduced in Andr\u00e9 Breton\u2019s seminal book Le Surr\u00e9alisme et la Peinture <\/em>(Surrealism and Painting) (1928),4<\/sup> as well as many other publications. <\/p>\n\n\n\n

Notes <\/p>\n\n\n\n

1. Max Ernst, Beyond Painting<\/em>, trans. Dorothea Tanning, Wittenborn, Schultz, Inc., 1948, p. 7. 
2. Andr\u00e9 Breton, Manifesto of Surrealism \/ Soluble Fish<\/em>, trans. Richard Seaver and Helen R. Lane, University of Michigan Press, 1972, p. 26.  
3. Ernst, op. cit., p. 25.
4. Andr\u00e9 Breton, Le Surr\u00e9alisme et la Peinture<\/em>, Gallimard, 1928, p. 38. The work was also reproduced in La R\u00e9volution Surr\u00e9aliste<\/em>, no. 6, 1926; Tanabe Shintaro, \u201cDevelopments in Painting Since 1920,\u201d Mizue<\/em> no. 302 (April 1930);
Andr\u00e9 Breton, Le Surr\u00e9alisme et la Peinture<\/em>, trans. Takiguchi Shuzo, Kouseikaku Shoten, 1930; and Cahiers d\u2019Art (ed.), Max Ernst, Oeuvres de 1919 \u00e0 1936 <\/em>(Works 1919-1936), Paris, 1937, among others. <\/p>\n\n\n\n

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(Gendai no me, Newsletter of The National Museum of Modern Art<\/em>, Tokyo<\/em> No.639)<\/strong><\/strong><\/p>\n","protected":false},"featured_media":163139,"template":"","magazine_category":[],"series":[276,280,275],"acf":[],"yoast_head":"\nMax Ernst\u00a0Desert Flower (Desert Rose)\u00a01925 \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.momat.go.jp\/en\/magazine\/208\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Max Ernst\u00a0Desert Flower (Desert Rose)\u00a01925 \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"Many people have childhood memories of making rubbings by pressing paper over a coin and applying a pencil. 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