Une semaine de bonté (1933/34) is the third collage-novel by German artist Max Ernst, realized - during his staying at Vigoleno (Northern Italy) - cutting with extraordinary care figures taken from popular novels' illustrations, scientific journals and other 19th century printed sources. These new images created by Ernst transform bourgeois Parisian houses in disturbing scenarios, with beastly, hybrid presences, oddities and absurd situations. The essay analyses the collage n. 13 of Une semaine de bonté's third volume. In this collage, Ernst assembled excerpts taken from the engravings of the feuilleton Martyre!, interpolating them with Gustave Doré's illustration of Milton's Paradise Lost. In particular, the figure of the fallen angel Beelzebub is rotated from the original horizontal to a vertical position and hanged to the curtain in the room. The unsetting effects of this method have been compared with some aspects of the dream work as analyzed by Freud, who expressly referred to rebus to explain it. Dreams, collages, rebuses share an affinity not in the immediate sense that they all need a solution/interpretation, but because they show a similar workings. From this point of view, a rebus, created in 1878 by Italian lithographer Giorgio Ansaldi (alias Dalsani) is presented. It shows - in a bourgeois house - a young elegant lady opening a curtain from where some bears enter the room. Even if in this case the solution is given (Sotto ridente maschera spesso il dolor si cela = Under a smiling mask, the sorrow often hides away), the unheimlich presence behind the curtain is noteworthy. A brown bear walks around in the house of Buñuel's El ángel exterminador (1962).
L'articolo analizza una tavola del romanzo-collage "Une semaine de bonté" di Max Ernst (1934) mettendo a confronto - sulla base delle letteratura critica sia classica sia recente - la tecnica del collage con quella del rebus tardo-ottocentesco, entrambe a loro volta legate ai meccanismi del lavoro onirico.
Estranei nel salotto. Sogni, rebus, collage / Sbrilli, Antonella. - In: LA RIVISTA DI ENGRAMMA. - ISSN 1826-901X. - ELETTRONICO. - 100:(2012), pp. 259-266.
Estranei nel salotto. Sogni, rebus, collage
SBRILLI, Antonella
2012
Abstract
Une semaine de bonté (1933/34) is the third collage-novel by German artist Max Ernst, realized - during his staying at Vigoleno (Northern Italy) - cutting with extraordinary care figures taken from popular novels' illustrations, scientific journals and other 19th century printed sources. These new images created by Ernst transform bourgeois Parisian houses in disturbing scenarios, with beastly, hybrid presences, oddities and absurd situations. The essay analyses the collage n. 13 of Une semaine de bonté's third volume. In this collage, Ernst assembled excerpts taken from the engravings of the feuilleton Martyre!, interpolating them with Gustave Doré's illustration of Milton's Paradise Lost. In particular, the figure of the fallen angel Beelzebub is rotated from the original horizontal to a vertical position and hanged to the curtain in the room. The unsetting effects of this method have been compared with some aspects of the dream work as analyzed by Freud, who expressly referred to rebus to explain it. Dreams, collages, rebuses share an affinity not in the immediate sense that they all need a solution/interpretation, but because they show a similar workings. From this point of view, a rebus, created in 1878 by Italian lithographer Giorgio Ansaldi (alias Dalsani) is presented. It shows - in a bourgeois house - a young elegant lady opening a curtain from where some bears enter the room. Even if in this case the solution is given (Sotto ridente maschera spesso il dolor si cela = Under a smiling mask, the sorrow often hides away), the unheimlich presence behind the curtain is noteworthy. A brown bear walks around in the house of Buñuel's El ángel exterminador (1962).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
