Sea and Sun - Max Ernst
Archival giclée
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Description
A surrealist composition by Max Ernst, featuring geometric celestial forms and textured, earthy tones created through his unique grattage technique.
Max Ernst, a central figure in the development of Dada and Surrealism, produced this work during a period of intense experimentation with texture and automatic techniques. Sea and Sun reflects his interest in the juxtaposition of elemental forms, where the rational world is replaced by a dreamlike, cosmic order. The composition is divided into distinct horizontal zones, separating the celestial from the terrestrial.
The upper portion of the canvas features a pale, luminous orb set against a deep blue field, marked by fine, etched lines that suggest movement or atmospheric disturbance. A small, sharp red diamond shape sits within this sphere, providing a stark contrast to the surrounding muted tones. Below, the earth is rendered in warm, ochre and terracotta hues, textured with horizontal striations that evoke the surface of a desert or a calm, vast expanse. A large, solid black circle dominates the lower section, acting as a gravitational anchor for the entire piece.
Ernst utilised his signature grattage technique here, scraping paint across the canvas to reveal underlying layers and create the tactile, wood-grain effect visible in the lower half. This process allowed him to bypass conscious control, inviting chance to dictate the final appearance of the surface. The result is a work that feels both ancient and alien, stripped of narrative detail to focus on the interplay of geometry and colour. By reducing the sea and sun to their most basic, symbolic shapes, Ernst invites the viewer to contemplate the relationship between light, shadow, and the physical world. This print captures the precise textures and the subtle shifts in tone that define the original oil painting, making it a suitable addition for those interested in the history of twentieth-century modernism.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Sea and Sun - Max Ernst
Artist Biography
Max Ernst
He was born in Brühl, near Cologne, and studied philosophy and art history at the University of Bonn. He had no formal art training. He saw a Picasso exhibition, joined the Rhineland Expressionists, served in the German army during the First World War (artillery), and emerged with what he described as a compulsion to find something beyond rational thought. Dada gave him the method. Surrealism gave him the framework.
His collage novels, made from cut-up Victorian engravings reassembled into dreamlike narratives, are among the most original works of the twentieth century. Une Semaine de Bonte (A Week of Kindness, 1934) is a series of 182 collages arranged in five chapters, each associated with an element and a day of the week. The imagery is violent, erotic, and funny. The source material, melodramatic Victorian illustrations, is treated with deadpan seriousness.
He married four times. His second wife was Peggy Guggenheim (briefly). His fourth was the painter Dorothea Tanning. He moved to America during the war, lived in Sedona, Arizona, and then returned to France. He died in Paris in 1976, the night before his eighty-fifth birthday.
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