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.
Patrick Waldberg, Surrealism, translated by Stuart Gilbert (Geneva, 1962), p. 3 (ill.).
Uwe M. Schneede, Max Ernst, translated by R.W. Last (New York, 1973), fig. 233.
Ernst Collages 1991 (1974), pl. 88 and p. 242.
Gaëton Picon, Surrealists and Surrealism, 1919-1939, translated by James Emmons (Geneva, 1977), fig. 4.
Günther Metken, “Sich die Kunst vom Lieb halten Loplop, die Staffeleifigur Max Ernsts,” Pantheon 36:11 (Apr.-June 1978), fig. 3 and p. 144.
Ernst Katalog, vol. 4 (1979), p. 152, no. 1862 (ill.).
Whitney Chadwick, Myth in Surrealist Painting, 1929-1939 (Ann Arbor, MI., 1980), fig. 87, pp. 87, 89, 94-95.
Werner Spies, Max Ernst: Loplop, The Artist in the Third Person, translated by John W. Gabriel (New York, 1983), pl. 27, fig. 155, pp. 23, 91, 94.
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. 130–31, cat. 66 (color ill.).
Possibly Philadelphia, Gimbel Galleries, “Max Ernst, Surrealist Exhibition,” 1937, cat. 12, as “Personnage” (a similar title is given on the back of the drawing on a label from the Julien Levy Gallery, which reads: ORIGINAL PERSONAGE BY MAX ERNST).
New York, Museum of Modern Art, “Max Ernst,” 1961, cat. 211 (ill.), pp. 16-17; also Chicago.
Chicago, Museum of Contemporary Art, “Fantastic Drawings,” 1967–1968, no cat.
New York, Solomon R. Guggenheim Museum, “Max Ernst: A Retrospective,” 1975, cat. 138 (ill.).
Paris, Galeries Nationales du Grand Palais, “Max Ernst,” 1975, cat. 171 (ill. as no 174).
Chicago, Museum of Contemporary Art, “Dada and Surrealism in Chicago Collections,” 1984–1985, p. 146 (ill.).
Kunsthalle Tübingen, “Max Ernst: Die Welt der Collage,” 1988-1989, cat. 198, p. 88.
Julien Levy Gallery, New York. Sold by Bodley Gallery, New York, to Lindy and Edwin Bergman, Chicago, 1960; given to the Art Institute of Chicago, 2018.
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