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Alma-Tadema and Victorian Painting
in the Pérez-Simón Collection

From 25 June to 12 October 2014 (extended closing date)



Autor:
Sir Lawrence Alma-Tadema
Título:
The Roses of Heliogabalus (detail)
Fecha:
1888
Técnica:
Oil on canvas
Medidas:
132.7 x 214.4 cm

Ubicacion:
Pérez-Simón Collection, Mexico

Carmen in Spanish collections

From 7 October until 9 November 2014

Special Collaborative Exhibition. Free entry



Autor:
Pablo Picasso
Título:
Illustrations for Le Carmen des Carmen by Prosper Mérimée and Louis Aragon>
Fecha:
1964
Ubicacion:
Bancaja Collection, Valencia
© Sucesión Pablo Picasso, VEGAP, Madrid, 2014

Thyssen-Bornemisza Collection

Autor:
Max Ernst
Título:
Untitled (Dada)
Fecha:
ca. 1922-23
Técnica:
Oil on canvas
Medidas:
43.2 x 31.5 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 538 (1974.22)

More information about this work




The title given by Max Ernst to the present painting — Untitled. (Dada) — leaves no doubt about his attachment to this movement. The artist, who came to call himself “Dadamax Ernst,” was one of the leading members of the Cologne Dadaists together with the artist and poet Johannes Baargeld, who belonged to the Communist party, and the experimental artist Hans Arp. However, the canvas is dated about 1922 or 1923, by which time Ernst had moved to Paris, where he would soon join the Surrealist group, then in its époque des sommeils.

The natural progression from Dadaism to Surrealism is very evident in Ernst’s painting. A person with his back to the viewer stands opposite a large spiral in a room containing several absurd floating objects. Each detail is depicted realistically, but when viewed as a whole, the composition has an inexplicable discontinuity about it. By removing the various elements from their context, Ernst not only creates new forms but achieves fanciful and strange meanings. Although it is an oil painting, Ernst employs the devices of collage. From 1918 to 1924 the artist exploited to the full the satirical use of this technique with a mordacity that recalls the photomontages of John Heartfield and George Grosz.

Paloma Alarcó

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