Max Ernst, grattage, and The horde series

dc.contributor.advisorHenderson, Linda Dalrymple, 1948-
dc.contributor.committeeMemberWaldman, Louis A
dc.creatorNewman, Rachel Beth
dc.creator.orcid0000-0002-1984-2334
dc.date.accessioned2019-04-05T17:03:06Z
dc.date.available2019-04-05T17:03:06Z
dc.date.created2018-12
dc.date.issued2018-10-12
dc.date.submittedDecember 2018
dc.date.updated2019-04-05T17:03:06Z
dc.description.abstractThis thesis investigates Max Ernst’s series of paintings made in 1927 titled The Horde. Most scholarship on Ernst’s experimental art focuses on frottage and collage. While these were important techniques for the Surrealist movement, the grattage technique used for The Horde paintings was essential to Ernst’s personal artistic growth as well as a contribution to the Surrealist search for an ‘automatic’ form of art making. In his quest to understand and make art tapping into the unconscious mind, Ernst drew on a wide variety of sources, including his personal history, German background, literature, animals, geological formations, and monsters. An investigation of these sources expands the possible meanings of The Horde paintings for Ernst, painting up their connections to Germany in the past and present, and their reflection of his deep interest in the archetypal Surrealism theme of metamorphosis. His invention of grattage as a painting technique made such a fusion possible.
dc.description.departmentArt History
dc.format.mimetypeapplication/pdf
dc.identifier.urihttps://hdl.handle.net/2152/74179
dc.identifier.urihttp://dx.doi.org/10.26153/tsw/1310
dc.language.isoen
dc.subjectMax Ernst
dc.subjectSurrealism
dc.subjectSurrealist painting
dc.subjectGrattage
dc.subjectUnconscious
dc.subjectThe Horde
dc.titleMax Ernst, grattage, and The horde series
dc.typeThesis
dc.type.materialtext
thesis.degree.departmentArt History
thesis.degree.disciplineArt History
thesis.degree.grantorThe University of Texas at Austin
thesis.degree.levelMasters
thesis.degree.nameMaster of Fine Arts

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