Two exhibitions at the Baltimore Museum of Art revel in the unique strangeness of one’s mind.
Overshadowed in her lifetime by her famous husband, Max Ernst, the American painter gets a major retrospective in Madrid.
Ernst’s trailblazing “collage novels” employ the dreamlike conjunction — the fusion or juxtaposition of unlike elements whose collision makes perfect sense, in a free-associated way.
In the Museum of Modern Art’s current Ernst retrospective, the artist’s avian alter ego, Loplop, reveals a realer reality.
Two works by Max Ernst from the collection of his widow, the artist Dorothea Tanning, are going under the hammer.