Max Ernst
"Crucifixion" (1913)
"Above the clouds" (1920)
"The Chinese Nightingale" (1920)
"Pleiades" (1920)
"L'Elephant Celibes" (1921)
"The Gramineous Bicycle" (1921)
"Oedipus Rex" (1922)
"Ubu Imperator" (1923)
"The Equivocal Woman" (1923)
"Saint Cecilia & Invisible Piano" (1923)
"Two Children Are Threatened by a Nightingale" (1924)
"The Blessed Virgin Chastises the Infant Jesus Before Three Witnesses" (1926)
"The Large Forest" (1927)
"The Forest" (1928)
"Birth of Zoomorph Couple" (1933)
"The Embalmed Forest" (1933)
"The Entire City" (1934)
"The Entire City" (1936)
"The Entire City" (1936)
"Echo of the Nymph" (1936)
"The Joy of Living" (1937)
"The Angel of Hearth and Home" (1937)
"The Fireside Angel" (1937)
"A Moment of Calm" (1939)
"The Attire of the Bride" (1939)
"Fascinating Cypress" (1940)
"Fascinating Cypress" (1940)
"Leonara in the Morning" (1940)
"Epiphany" (1940)
"Lone Tree and United Tree" (1940)
"Napoleon in the Desert (1941)
"Totem & Tabu (1941)
"Marlene" (1941)
"Europe After the Rain II" (1942)
"Europe After the Rain II - detail" (1942)
"The Antipope" (1942)
"Gypsy Rose Lee" (1943)
"The Eye of Silence" (1944)
"The Temptation of St Anthony" (1945)
"Birth of a Galaxy" (1969)
"Rien Ne Va Plus" (1973)
Ernst: The Horde (1927) (under Amsterdam)
Max Ernst: "The Entire City" (1935). The metropolis seems to have crumbled. Is it a reminder of an abandoned city from an ancient civilization or an ominous harbinger of the National Socialist assault on Europe? The muted abstract patterns in the looming central form are the result of Ernst’s inventive technique of rubbing paper against a shape that has been inked to produce a new image, which he then enhanced. This semi-automatic technique, called grattage, is a hallmark of Surrealism at LACMA in Los Angeles
"The Entire City" at LACMA in Los Angeles
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