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“... in Edmund Leach’s review of Lévi-Strauss’s latest, The View from Afar, that ‘the essay on Max Ernst contains an analysis of that artist’s celebrated construction of a sewing-machine and an umbrella on a dissection table.’ It does not. I have been to the British Library and looked at The View from Afar. The essay in question refers, and ...”

“... 20. The text refers directly to both pictures. The present English edition has a cover picture by Max Ernst, who is the subject of similar laudatory comment in Chapter 19. But this particular picture is not discussed and it seems to lack nearly all the qualities for which Lévi-Strauss expresses admiration. If Lévi-Strauss himself chose the picture, it ...”

“... Artaud (1), Eluard (5), Péret (5), Prévert (6), Queneau (4) and Pierre Unik (10); and Max Ernst (1), Man Ray (1) and Yves Tanguy (7). The eldest, Ernst and Man Ray, were nearing 40, the youngest, Unik, was 19, but generally they were in their late twenties or early thirties. And almost all of them were ...”

“... Jacques Lipchitz, Moïse Kisling, the young Claude Lévi-Strauss … A band of surrealists led by Max Ernst (Tristan Tzara, Wifredo Lam, André Breton among them) hid in the spooky Villa Air-Bel in the city’s outskirts. Marseille was in the non-occupied zone of France. But Article 19 of the armistice agreement with Germany obliged the Vichy ...”

“... Surrealist Exhibition opened at New Burlington Galleries and the following year she met Max Ernst at a party organised by a fellow Ozenfant student, Ursula Goldfinger, and her architect husband, Erno. Ernst ‘opened up all sorts of worlds’ and Carrington soon went to live with him in Paris, though she ...”

“... envied visual artists, he believed in their power. ‘I didn’t see exhibitions of Francis Bacon, Max Ernst, Magritte and Dalí as displays of painting,’ he wrote in 2003. ‘I saw them as among the most radical statements of the human imagination ever made, on a par with radical discoveries in neuroscience or nuclear physics.’ In 1995, in the ...”

“... which consorts easily with the insect-headed humans and other macabre juxtapositions of Max Ernst’s collage illustrations – much of what is here was written while Carrington and Ernst were living together in France in 1938. There is a dandified spareness about her prose – and a Harry Graham ruthlessness ...”

“... derived from the fractured perspective of the ‘metaphysical paintings’ of de Chirico, which Max Ernst combined with Dada collage techniques and delivered as a template to Surrealists-to-be in his revelatory show in Paris in May 1921. In Belgium, Magritte soon developed a related model of the image – ...”

“... years before she exhibited Ma Gouvernante at her first solo show, Oppenheim began an affair with Max Ernst. She was 20, studying art in Paris; he was 44. His wife, the painter Marie-Berthe Aurenche, was 29. The shoes were Aurenche’s, a second-hand gift from Ernst to Oppenheim, who bound and plated them. After the ...”

“... Leonora Carrington, who was also starting a new life there after the collapse of her romance with Max Ernst. Carrington was a frequent visitor to Xilitla, where she painted frescoes of minotaurs on the walls of the new house. He had by this time acquired one of the largest private collections of Surrealist art – not, he insisted, out of a desire to own ...”

“... because Brausen was also Giacometti’s main London dealer and worked with both Marcel Duchamp and Max Ernst. Brausen asked the young David Sylvester to write something for the catalogue. His response remains acute: Richier, he declared, asks ‘not only how much damage the human body can endure and still remain human, but also how far the human body can ...”

“... to suggest I write article on two exhibitions in London next month: Man Ray photos at Barbican, Max Ernst at Tate. Thursday 10: Ron Stocker to lunch. Listened to ‘Schönberg in Hollywood’ on Radio 3. Wrote to thank Jean-Claude, and send him copy of Jean Follain collection in the Poésie series. Judy tired and seems indifferent to the fate of the ...”

“... after her remarriage with Weill mostly involved less well-known partners. The one exception was Max Ernst, whose letters to her were the only ones other than Weill’s she preserved. (Far fewer of hers than of his have survived and made it into this volume, and they were obviously salvaged by Lenya.) None of Lenya’s adventures are mentioned in the ...”

“... Bell and Virginia and Leonard Woolf, all of whom spent time in Cassis during those years. Through Max Ernst, a friend of Boué’s, he met the Surrealist poets and painters, and with Herbert Read and David Gascoyne, introduced Surrealism to England. He helped persuade Picasso (it didn’t take much) to contribute to the 1936 exhibition at the New ...”

“... Second World War; purchases resumed in 1941, in New York, with André Breton, Howard Putzel and Max Ernst also advising. The catalogue of Guggenheim’s collection, Art of This Century, published in that year, amounted to an ‘anthology of modern art’ – that is, a sourcebook of approved models of thirty years of European avant-garde art. At the ...”