Bibliography

   1.) Camfield, William A. Max Ernst: Dada and the Dawn of Surrealism. Verlag, Munich, Houston: Prestel,  the Menil Collection, 1993.

                

Max Ernst's active engagement with Dada in 1919 in Cologne, and the part he played in the movement. This book discusses many of the movements and thought processes that Ernst went through leading up to and after his involvement in the Dada movement. It also discusses and displays many of his works  and how they each represent and came to be. From his use of collage to his more abstract and expressive works the artists techniques and creative processes are discussed, as well as, how he arrived at the ideas and subjects he created.

               
               2.)   Ernst, Max. Beyond Painting. New York: Wittenborn, Schultz, Inc., 1948.

               

This book work is written by Max Ernst, with the help of some of his friends. He talks about the struggles of most modern painters and artists and how his work is one of the few modern painters whose main concern is with the external world, the world of social events and institutions-the church, political repression, and erotic enslavement. His work is full of ironies, sarcasms, cruelties, and satires. He discusses his many influences from poets and other painters, as well as, his inspirations from natural history and nature.

               

               3.)  Giedion-Welcker, Carola, and Ernst Scheyer. "Max Ernst: Irony-Myth-Structure." Critisism,           No. 2, 1964: 105-113.

In this journal article Welker discusses Ernst's rejection of "material reality" and his strong interest in exploring the realm of the psychological. Also his use of familiar imagery and symbolism and how relevant its' presence is in his work is discussed. Examples of his work using "myth", symbolism, and the psychological are also shown and discussed.

               

             4.)  Henning, Edward B. "Jean Hatchet and Charles the Bold a Surrealist Collage by Max Ernst." The Bulletin of the Cleveland Museum of Art, No. 8, 1982: 273-278.

             

   In this journal article, the artist's work Jean Hatchet and Charles the Bold and its' importance in regards to surrealist collage is discussed. Max Ernst's involvement and importance in the Surrealist movement and Surrealist collage is discussed thoroughly, as well as, how many other artists' works that inspired and led up to the process of Surrealist collage.

  

                5.)  Maur, Karin von, Sigrid Metken, Uwe M. Schneede, Sarah Wilson, and Werner Spies. Max Ernst: A Retrospective. Verlag, Munich: Prestel publications, 1991.

              

  A complete Biography, including works from all periods of Max Ernst's career are bundled together in this book. It discusses his early life, all the way into the later years of his life near his death. This book is a centenary, a celebration of this man's life and the many accomplishments he made within it. Examples of every style , movement, and subject that Ernst covered within his entire artistic career are given and discussed thoroughly throughout the book.

                

               6.)  Stokes, Charlotte. "Collage as Jokework: Freud's Theories of Wit as the foundation for the Collages of Max Ernst." Leonardo, No. 3, 1982: 199-204.

               

As a Surrealist artist, Max Ernst's influence from the psychological studies of Freud and others has been described as strange dream-like images, which are which have been seen as symbolic representations of different emotional states (p.199). This Journal article discusses that subject matter and its' application in many of Ernst's paintings and collages. It also brings up the fact that Ernst uses Freud's discussion of verbal mechanisms, such as puns as the basis of organization in his collages. The article discusses further Max Ernst's translation from a verbal mechanism/device into a visual one in his personal symbol, the bird-like man which appears often in many of his works. 

                

              7.)  Stokes, Charlotte. "Surrealist persona: Max Ernst's Lolop, superior of the birds." Simiolus: Netherlands Quarterly for the History of Art, No. 3/4, 1983: 225-234.

              

  An explanation for Max Ernst's persona in the form of "Lolop, Superior of Birds", who acts as the presenter of Ernst's interpretations of his own world is discussed. The article also discusses Ernst's use of Freud’s methods of sensitizing himself to his dreams. While analyzing the symbolism of his dreams, Ernst discovered that for him birds had a personal, as well as, general significance to him. Therefore, bird imagery became an important part of Ernst's paintings and collages early on into his participation during the Dada movement.

               

               8.)  Stokes, Charlotte. "The Scientific Methods of Max Ernst: His use of Scientific Subjects from La Nature." The Art Bulletin, No.3 (College Art Association), 1980: 453-465.

               

Science's influence on twentieth-century life and ideas, and the role it played in a lot of Max Ernst's work. Ernst's eye for science was not driven for its objectivity or narrow approach, but rather for the subjects open to the scientist that was traditionally closed to the fine artist. The article discusses also how Ernst saw in scientific illustrations, a visual form relativity that was free from the meanings conventional in artistic images. He found in scientific illustrations a fresh way of seeing, and he used them to help make visualizations of the invisible within himself.

9.)  Harrison, Charles and Wood, Paul ."Max Ernst (1891-1976)- What is Surrealism?" Art in Theory 1900-         2000.    Malden, MA: Blackwell Publishing, 1993.

In this excerpt, from a catalogue of an exhibition with the same name (“What is Surrealism”?); included in an anthology full of different written works and studies of many artists between 1900-2000 called ‘Art in Theory’: Max Ernst discusses the fundamental theories and processes that make up a surrealistic work of art.