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One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. This book uses theories of the unconscious-surrealist automatism, Freudian psychoanalysis, the concept of history as trauma to examine how Ernst's construction of collage departs from other modern artists. Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged-rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image or memory comes into the mind's view. Ernst scoured the past for obsolete scientific illustrations and odd advertisements to illustrate the rapidity with which time passes and to simulate the apprehension generated when rapid flows of knowledge turn living culture into artifact. Ultimately Ernst was interested in the construction and phenomenology of both collective and individual modern history and memory. Shedding new light on Ernst's working methods and the reasons that his pieces continue to imprint themselves in viewers' memories, this book is an innovative work of critical writing on a key figure of surrealism.

Painting, Modern --- Painting --- History. --- History --- Ernst, Max, --- Ernst, Maximilian, --- Criticism and interpretation. --- Influence. --- Dadaism --- Surrealism --- Superrealism --- Surrealism in art --- Arts, Modern --- Dada --- Tabu-Dadaism --- Dadaism. --- Surrealism. --- Influence (Literary, artistic, etc.). --- Painting, Modern. --- 1900-1999. --- max ernst, painting, painter, art, artist, artwork, history, historical, 20th century, dada, surrealism, unconscious, surrealist automatism, freud, freudian psychoanalysis, trauma, screen image, replication, simulation, scientific illustrations, drawings, frontage, grattage, collages, cultural movement, element of surprise, juxtaposition, avant-garde, nonsense, irrationality, protest.

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Originally published in 1985. Beasts of the Modern Imagination explores a specific tradition in modern thought and art: the critique of anthropocentrism at the hands of "beasts"—writers whose works constitute animal gestures or acts of fatality. It is not a study of animal imagery, although the works that Margot Norris explores present us with apes, horses, bulls, and mice who appear in the foreground of fiction, not as the tropes of allegory or fable, but as narrators and protagonists appropriating their animality amid an anthropocentric universe. These beasts are finally the masks of the human animals who create them, and the textual strategies that bring them into being constitute another version of their struggle. The focus of this study is a small group of thinkers, writers, and artists who create as the animal—not like the animal, in imitation of the animal—but with their animality speaking. The author treats Charles Darwin as the founder of this tradition, as the naturalist whose shattering conclusions inevitably turned back on him and subordinated him, the rational man, to the very Nature he studied. Friedrich Nietzsche heeded the advice implicit in his criticism of David Strauss and used Darwinian ideas as critical tools to interrogate the status of man as a natural being. He also responded to the implications of his own animality for his writing by transforming his work into bestial acts and gestures. The third, and last, generation of these creative animals includes Franz Kafka, the Surrealist artist Max Ernst, and D. H. Lawrence. In exploring these modern philosophers of the animal and its instinctual life, the author inevitably rebiologizes them even against efforts to debiologize thinkers whose works can be studied profitably for their models of signification.

Psychoanalysis and literature. --- Literature and science. --- Art, Modern --- Mimesis in literature. --- Animals in literature. --- Anthropomorphism. --- Human beings --- Comparative literature --- Literature, Modern --- Animal nature. --- Themes, motives. --- History and criticism. --- Hemingway, Ernest, --- Lawrence, D. H. --- Ernst, Max, --- Nietzsche, Friedrich Wilhelm, --- Kafka, Franz, --- Darwin, Charles, --- Criticism and interpretation. --- Influence. --- Plots (Drama, novel, etc.) --- Animal nature of human beings --- Philosophical anthropology --- Symbolism --- God --- Representation (Literature) --- Imitation in literature --- Realism in literature --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Poetry and science --- Science and literature --- Science and poetry --- Science and the humanities --- Literature and psychoanalysis --- Psychoanalytic literary criticism --- Literature --- Corporeality --- Literature: history & criticism

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503-30-2

Christian art and symbolism. --- Jesus Christ --- christelijke iconografie --- Christus --- Christusfiguur --- Christology --- Christianity --- religions [belief systems, cultures] --- godsdienst --- religious art --- religieuze kunst --- photography [process] --- Iconography --- christendom --- painting [image-making] --- sculpting --- schilderkunst --- art history --- cultuurgeschiedenis --- Ohlson, Elisabeth --- Corot, Camille --- Doré, Gustave --- Corinth, Lovis --- Szemiradski, Henryk --- Saura, Antonio --- Griffith, David Wark --- Blake, William --- Burnand, Eugène --- Millais, John Everett --- Tanner, Henry Ossawa --- Rainer, Arnulf --- Gargallo, Pablo --- Rothko, Mark --- Ernst, Max --- Daumier, Honoré --- Beckmann, Max --- Delacroix, Eugène --- Duwe, Harald --- Bacon, Francis --- Pasolini, Pier Paolo --- de Jans, Eduard --- Gauguin, Paul --- Severen, van, Dan --- Riviere, Briton --- Dix, Otto --- Ensor, James --- Stella, Joseph --- Spencer, Stanley --- Overbeck, Friedrich --- Dalí, Salvador --- Sutherland, Graham --- Matisse, Henri --- Rouault, Georges --- Hunt, William Holman --- Manessier, Alfred --- Nikolajevitsj, Nikolaj --- Chagall, Marc --- Watts, George Frederick --- Orozco, José Clemente --- Tissot, James --- Christian art and symbolism --- C3 --- iconografie --- kunstboek --- middeleeuwen (x) --- naslagwerk --- nieuwe tijd (x) --- nieuwste tijd (x) --- 242.7 --- christus (ler) --- kunst en religie --- 230.3 --- #GGSB: Christologie --- #GGSB: Dogmatiek --- #GGSB: Religieuze kunst --- #gsdb3 --- 696 --- #KVHA:Cultuur --- #KVHA:Godsdienst --- #KVHA:Kunst --- 248.159.23 --- 75.046.3 --- 75.046.3 Religie in de schilderkunst. Heiligenbeelden --- Religie in de schilderkunst. Heiligenbeelden --- 248.159.23 Devotie tot het lijden van Jezus Christus. Kruisweg --- Devotie tot het lijden van Jezus Christus. Kruisweg --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Church decoration and ornament --- Kunst en cultuur --- Kunstgeschiedenis --- Christ --- Cristo --- Jezus Chrystus --- Jesus Cristo --- Jesus, --- Jezus --- Christ, Jesus --- Yeh-su --- Masīḥ --- Khristos --- Gesù --- Christo --- Yeshua --- Chrystus --- Gesú Cristo --- Ježíš --- Isa, --- Nabi Isa --- Isa Al-Masih --- Al-Masih, Isa --- Masih, Isa Al --- -Jesus, --- Jesucristo --- Yesu --- Yeh-su Chi-tu --- Iēsous --- Iēsous Christos --- Iēsous, --- Kʻristos --- Hisus Kʻristos --- Christos --- Jesuo --- Yeshuʻa ben Yosef --- Yeshua ben Yoseph --- Iisus --- Iisus Khristos --- Jeschua ben Joseph --- Ieso Kriʻste --- Yesus --- Kristus --- ישו --- ישו הנוצרי --- ישו הנצרי --- ישוע --- ישוע בן יוסף --- المسيح --- مسيح --- يسوع المسيح --- 耶稣 --- 耶稣基督 --- 예수그리스도 --- Jíizis --- Yéshoua --- Iėsu̇s --- Khrist Iėsu̇s --- عيسىٰ --- ‏عيسىٰ‏ --- Rivière, Briton --- Symbolism in art --- Religieuze kunst --- Kunsten --- S38/1350 --- Works not related to China and the Far East--Christianity: general --- Jezus Christus --- Kunst --- Christologie --- Dogmatiek --- Christus.