Forests appear frequently in Ernst’s works and recall his feelings of the ‘enchantment and terror’ of the woods near his childhood home. Forests are a potent symbol in German tradition, and were also adopted by the Surrealist group as a metaphor for the imagination. In this work, a small dove, which Ernst liked to air max enfant use as a symbol to represent himself, is trapped among menacing nike air max 90 trees. The shapes are created using a technique he called ‘grattage’, in which paint is scraped across the canvas to reveal the imprint of objects placed beneath.
Presented by the Friends of the Tate Gallery 1962With Galerie Van Leer, Paris; with Galerie Schulthess, Basle; Dr Robert Schnell, Zurich, 1947; with Galerie Suzanne Bollag, Zurich, 1960; with Roland, Browse and Delbanco, London, 1962; Friends of the Tate GalleryMax Ernst, Galerie Van Leer, Paris, March April 1927 (11) as ‘Forêt et Colombe’; Max Ernst, Kunsthalle, Bern, August September 1956 (40) as ‘Forêt des Arrêtes’; Natur und Kunstform, Kunsthalle, Basle, September October 1958 (not in catalogue); Max Ernst and Etienne Cournault, Roland, Browse and Delbanco, London, April May 1962 (5, repr.) as ‘The Forest’Lit: Werner Spies, Sigrid and Günter Metken, Max Ernst: Werke 1925 1929
(Houston france air max Cologne 1976), No.1195, p.208 repr. as ‘Forêt et Colombe’Repr: Uwe nike air max bw M. Schneede, The Essential Max Ernst
(London 1972), pl.204 as ‘Forest and Dove’; Simon Wilson, Surrealist Painting
(London air max pas cher 1975), pl.38 in colour
Max Ernst was haunted from childhood by a feeling of enchantment and terror induced by the all enveloping atmosphere of the forest near which he was born. Following his discovery of the technique of frottage in 1925 he made many paintings in air max tn pas cher which he explored these hallucinations. Some of the pictures in this series include the rising or setting sun; this is one of a number in nike air max 90 pas cher which the only sign of life is a solitary bird.