Max Ernst

Art has nothing to do with taste, art is not there to be 'tasted'. Yet a certain mayor believes that art exists to be 'judged', and the most modern art to be 'judged from a business point of view'. That such an original thought could emerge from a mayor's brain! What the mayor wants is exactly what the critics of the large and small dailies actually do. They set out to judge art. That is a very pleasant occupation, because no matter how wrong a judgment may be, you never have to revise it. The art judges talk about 'ability' and complain that the 'younger generation' has lost this ability. Sometimes their complaints are even seriously intended. But, gentlemen, do you really know what that is — ability? No, you don't.

But it is of the past, it seems to me. Perhaps.. .Man and the nightingales were in the most favourable situation for imagining: for them the forest was a perfect dream-conductor..

Are there still forests over there? They are, apparently, wild and impenetrable, black and russet, extravagant, secular, full of ant-hills, diametrical, negligent, ferocious, fervent and kindly, without yesterdays or tomorrows. From one island to another, above the volcanoes, they play cards with inmatched packs. Naked, they are decked only in their majesty and their mystery.

Woman's nakedness is wiser than the teachings of the philosophers. [the title of his essay]

What is a forest? A marvelous insect. A drawing-board, what do forests do? They never go to bed early. They are waiting for the tailor. What is the high season of the forests? It is the future..

What is a dream? You ask too much of me: it is a woman cutting down a tree. What are forests for? For making the matches one gives children to play with. Is the fire in the forest, then? The fire is in the forest. What do plants feed on? On mystery. What day is it today? Shit..

I saw a shady forest and therein a crowd of nightingales. The nightingales as to their breast were rough and hairy, and as to their feet some were like calves, some like panthers, and some like wolves, and they had beast's claws instead of toes.

A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell'.

Max Ernst died the 1st of August 1914. He resuscitated the 11th of November 1918 as a young man aspiring to become a magician and to find the myth of his time.

One rainy day in Cologne on the Rhine, the catalogue of a teaching aids company caught my attention. It was illustrated with models of all kind – mathematical, geometrical, anthropological, zoological, botanical, anatomical, mineralogical, paleontological, and so forth- elements of such a diverse nature that the absurdity of the collection confused the eye and mind, producing hallucinations and lending the objects depicted new and rapidly changing meanings. I suddenly felt my 'visionary faculties' so intensified that I began seeing the newly emerged objects against a new background. To capture it, a little paint or a few lines were enough, a horizon, a sky, a wooden floor, that sort of things. My hallucination had been fixed. Now it was a matter of interpreting the hallucination in a few words or sentences Such as: 'Above the clouds midnight passes. Above midnight glides the invisible bird of day..'

A painter may know what he doesn't want. But woe be to him if he desires to know what he wants. A painter is lost if he finds himself. Max Ernst considers his sole virtue to be that he has managed not to find himself.

Two artists can suggest two different subject matters and two completely different pictures by using the same spot. Every picture demonstrates certain aspects from the inner life of the painter who made it. For this reason, the orthodox Tachist is wary of letting himself be influenced by Leonardo's famous wall.. .I grant the painter the right to speak, to laugh, to take a stand and to draw upon all his hallucinatory faculties. But I absolutely refuse to live like a Tachist.

Mixed feelings when he [Max Ernst frequently writes about himself in the third person] enters the forest for the first time: delight and oppression. And what the Romantics spoke of as 'being at one with Nature'. Wonderful joy in breathing freely in an open space, but also anxiety at being encircled by hostile trees. Outside and inside at the same time, free and trapped.

Looking at them [the metaphysical paintings of De Chirico, c. 1919] I had the sense of rediscovering something I had always known, just as when some event already seen opens up to us a whole realm of our own dream world, one that we have failed to see or comprehend, owing to a kind of censorship.

A series of powers are at work within the great stream of Expressionism who have no outward similarity to one another but a common direction of thrust, namely the intention to give expression to things of the psyche [Seelisches] through form alone.