The idea for this work began when Salvador Dalí discovered an inkwell illustrated with the praying couple (from Jean-Francois Millet’s painting The Angelus, 1857–59). He embedded the inkwell in a loaf of bread and placed them both on the portrait bust of a woman.
In 1931, Dalí described Surrealist sculpture as “created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character.” Retrospective Bust of a Woman (1933) not only presents a woman as an object, but explicitly as one to be consumed. A baguette crowns her head, cobs of corn dangle around her neck, and ants swarm along her forehead as if gathering crumbs. Ants, of course, are a common reoccurring motif in Dali’s work.
In Remedios Varo’sThe Juggler (The Magician)1956, the titular juggler (or magician) stands on a platform of a carnivalesque cart filled with fantastical objects and animals. He performs before seemingly identical figures robed in a single gray cloak. To produce this composition, Varo worked in the manner of early Renaissance masters; she transposed preparatory drawings onto a a gesso-primed panel which had been scratched to give it texture. She also deployed decalomania, a technique favored by the Surrealists in which materials such as paper or aluminum foil are pressed onto wet paint to transfer a pattern that may be embellished. Its atmospheric effects can be seen in the magician’s garments and in the background trees.
Chicago-based surrealist Gertrude Abercrombie (1909 – 1977) was acclaimed for her enigmatic paintings of stark interiors and illusory landscapes. On first glance, Self Portrait As My Sister (1941) appears to be relatively straight-forward representation, lacking the idiosyncratic imagery of her complex, dreamlike works. But Abercrombie was an only child, and the title’s allusion to a sister heightens the paradox of the painting. She frequently used self-portraiture as a means of trying on new guises and personas, later observing, “It’s always myself that I paint, but not actually, because I don’t look that good or cute.” Indeed, in her records she referred to this work as “Portrait of Artist as Ideal.” Her reference to a fictitious and prettier sister hints at desire to be a different person, a longing she could satisfy through her painting.
This unknown-titled work from 1926 shows French Surrealist painter Yves Tanguy’s debt to the still and imaginative landscapes of the Italian artist Giorgio de Chirico. The influence is apparent in the perplexing array of imagery that includes a small school of fish and a child flattened by a cart. The plain white tower in the background — a favorite iconographic motif of de Chirico — secures the connection between the two artists.
Photographed in the Metropolitan Museum of Art in NYC.
Max Ernst was fascinated with microscopic images, which were first broadly distributed in the early twentieth century. For The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses (1921), he created an overpainting on the ambitious scale of traditional oil painting by using a commercially available teaching chart. Ernst inverted the found poster, which contains magnified views of brewer’s yeast cells, and selectively painted in a black background. He then painted gears and bands, as well as humanizing details including eyes, noses, limbs, and whiskers to create a virtual circus of tightrope walkers, clowns and cyclists. The inscription lands amusing sexual connotations to the hairs, orifices and protrusions of these microorgasms.