Untitled (Loplop Presents)

1932

Max Ernst
American and French, born Germany, 1891-1976

Status: On View, Gallery 397
Department: Prints and Drawings

Artist: Max Ernst
Title: Untitled (Loplop Presents)
Place: United States (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1932
Medium: Collage composed of photograph, graphite drawing, gouache, printed marble paper, frottage, and cut paper elements, painted, colored, and scratched with crayon on ivory wove paper
Inscriptions: Signed and dated, lower right: "max ernst 1932"
Dimensions: 50 × 64.6 cm (19 11/16 × 25 7/16 in.)
Credit Line: Lindy and Edwin Bergman Collection
Reference Number: 2018.318
Copyright: © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

Harreit Janis and Rudi Blesh, Collage: Personalities, Concepts, Techniques (New York, 1962), fig. 121.
Uwe M. Schneede, Max Ernst, transated by R.W. Last (New York, 1973), fig. 241.
Edward Quinn, Max Ernst, translated by Kenneth Lyons (New York, 1977), fig. 210.
Ernst Katalog, vol. 4 (1979), p. 147, no. 1852 (ill.).
Ernst Collages 1991 (1974), pl. 77 and pp. 72, 128, 242.
Werner Spies, “Max Ernst: Loplop, The Artist in the Third Person, translated by John W. Gabriel (New York, 1983), pl. 20, pp. 26, 31.
Lu Bro, Figure and Form, vol. 1: Skills and Expression (Dubuque, Iowa, 1992), fig. IV.22.
Dawn Ades, with Margherita Andreotti and Adam Jolles, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 128–29, cat. 65 (color ill.). no. 65, reprod. p. 128.

New York, Museum of Modern Art, “Max Ernst,” 1961, p. 17, cat. 218a; also Chicago.
New York, Museum of Modern Art, “The Art of Assemblage,” 1961-1962, cat. 93 (ill.); also Dallas and San Francisco.
Waltham, Massachusetts, Brandeis University, Rose Art Museum, “The Painter and the Photograph,” 1964-1965, cat. 12 (ill.), p. 26; also Bloomington, Iowa City, New Orleans, Albuquerque, and Santa Barbara.
Gary Artists’ League, “Indiana Sesquicentennial Collectors’ Art Exhibit,” 1966, no. cat.
Chicago, Museum of Contemporary Art, “Fantastic Drawings,” 1967–1968, no cat.
New York, Museum of Modern Art, “Dada, Surrealism, and Their Heritage,” 1968, cat. 104, fig. 189 and p. 129.
Philadelphia, Institute of Contemporary Art, University of Pennsylvania, “Against Order: Chance and Art,” 1970, n.p. (ill.).
Kalamazoo Institute of Arts, Genevieve and Donald Gilmore Art Center, “The Surrealists: A Fifth Anniversary Fund Exhibition,” 1971, p. 5.
Chicago, Museum of Contemporary Art, “Twentieth-Century Drawings from Chicago Collections,” 1973, n.p.
New York, Solomon R. Guggenheim Museum, “Max Ernst: A Retrospective,” 1975, cat. 153 (ill.).
Paris, Galeries Nationales du Grand Palais, “Max Ernst,” 1975, cat. 192.
London, Hayward Gallery, “Dada and Surrealism Reviewed,” 1978, cat. 11.16 (ill.).
Cleveland Museum of Art, “The Spirit of Surrealism,” 1979, cat. 22 (ill.).
Chicago, Museum of Contemporary Art, “Dada and Surrealism in Chicago Collections,” 1984–1985, pp. 102, 146, pl. 31.
Art Institute of Chicago, “A Tribute to Edwin A. Bergman (1917–1986): Selections from the Lindy and Edwin Bergman Collection,” 1986, pamphlet no. 18.
Kunsthalle Tübingen, “Max Ernst: Die Welt der Collage,” 1988-1989, cat. 193, pl. 77 and p. 72.

Sold by Galerie du Dragon, Paris, to Lindy and Edwin Bergman, Chicago, 1960; given to the Art Institute of Chicago, 2018.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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