Une Semaine de Bonté by Max Ernst Download (read online) free eBook .pdf.epub.kindle

Une Semaine de Bonté

“One of the clandestine classics of our century.” —The New York Times

This is the legendary collage masterpieces of Max Ernst (b. 1891), one of the leading figures of the surrealistic movement and among the most original artists of the 20th century. From old catalog and pulp novel illustrations, Ernst produced this series of 182 bizarre and darkly humorous collage scenes of

This is the legendary collage masterpieces of Max Ernst (b. 1891), one of the leading figures of the surrealistic movement and among the most original artists of the 20th century. From old catalog and pulp novel illustrations, Ernst produced this series of 182 bizarre and darkly humorous collage scenes of classic dreams and erotic fantasies which seem mysteriously to lure the unconscious into view: Stern, proper-looking women sprout giant sets of wings, serpents appear in the drawing-room and bed chamber, a baron has the head of a lion, a parlor floor turns to water on which some people can apparently walk while others drown.

Une Semaine de Bonté is divided into seven parts, one for each day of the week, with each section illustrating one of Ernst’s “seven deadly elements.” “Oedipus,” “The Court of the Dragon,” and “Three Visible Poems” are among the startling episodes of Ernst’s week. The Dada and surrealist epigraphs which introduce each section appear in this edition in both French and English.

Une Semaine de Bonté first appeared in 1934 in a series of five pamphlets of fewer than 1,000 copies each, and has never been reprinted before this present edition. Previously available only to a few libraries and collectors, this is a major source and great treat for anyone interested in the surrealists and their work, in collage, visual illusion, dream visions, and the interpretations of dreams.
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    Jon(athan) Nakapalau

    Very interesting look at surrealistic expression: let me with a feeling of disquiet mixed with confusion – which is exactly what the images are crafted to do.

    Steve Luttrell

    Mar 21, 2009

    rated it
    it was amazing

    Max Ernst presents an early graphic novel. It’s a cross between the Terry Gilliam “Monty Python” animations, William Burroughs, and that dream you can’t quite remember from when you had the flu. Highly recommended.

    David Schaafsma

    A 1934 classic by one of the central figures in surrealism, a collage novel making use of images from Victorian encyclopedias and pulp paintings, pasting images (usually animal heads) on them and creating some sort of continuity through dreams and erotic fantasies. I would have first read it decades ago and found it then strange and wonderful and bizarre, and reading it again, felt similarly, though I may have “understood” it differently, maybe “better”.

    This text now reads to me like a very Freu

    This text now reads to me like a very Freudian study of dream images, with lots of animals, sex, some violence, always bizarre. Divided up in seven sections, each for a day of the week, it features epigraphs by other surrealists with of course little obvious connection to the visual art. 182 images. One section is described as a “visual poem” but it feels like all of it could maybe be described that way.

    This is an art collection and a graphic novel, a commentary on Victorian life and what is repressed beneath carefully constructed images of gentility and upper class style. A novel because he calls it a novel. A constant theme is women (never men, for Ernst) in distress, so that part of it is occasionally disturbing, which may also be a commentary on violence against women under all the Victorian affectation, or maybe Ernst’s own fantasies, but I really think it is the former here, it is critique.

    Ernst was denounced (as were others in Germany in the thirties, of course, and many surrealists and dadaists and expressionists) by the Nazis as decadent, and he put this work together as if in part to say: So? And Hitler liked art and opera and read and classic German arts in general. What was lurking beneath the gentile artsy surface of all his and his partners in Holocaust? It’s interesting stuff, collage as art to explore the unconscious, power and privilege. A commentary on maybe both Victorian and Nazi society, but on society, surely.

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