Max Ernst
Loplop Introduces Members of the Surrealist Group (Loplop présente les membres du groupe surréaliste)
1931
Cut-and-pasted gelatin silver prints, cut-and-pasted printed paper, pencil, and pencil frottage on paper
Not on view
Beginning in the early 1930s, Loplop, or “the Bird Superior,” became one of Ernst’s favorite alter egos. Here his beak-like profile peers over the top of a large rectangular field, which resembles a canvas on an easel or a sandwich board, held up by a concealed body with two stubby feet. In place of a painting or commercial slogans or graphics, Ernst substituted carefully cutout photographs of members of the Surrealist group. His own face appears just slightly above and to the left of center, right next to Salvador Dalí. Such pictures of collective or group activity are a persistent theme in Surrealism.
Max Ernst: Beyond Painting, September 23, 2017-January 1, 2018.
Provenance Research Project
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André Breton, Paris
The Museum of Modern Art, New York. Purchased from Breton in Paris, summer 1935
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Max Ernst
French and American, born Germany. 1891–1976 234 works onlineA key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth.
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