Europe after the Rain
54.8 cm × 147.8 cm… Nearly 2ft high and 6ft wide.
This strange landscape contains a large amount of detail that is not recognisable… it’s hard to point to a piece of the painting and call it representative of a building or a rock formation or something else that is known and can be used as a label. The range of colours used does perhaps suggest an accumulation of rock types as you might find in a street where buildings have been constructed or faced with imported stone; but they could also be the colours of a forest – leaves, barks, soils, moulds, rocks, sun and sky.
It is somewhat suggestive of a coral reef – something growing but like rock, holes where water and creatures circulate, some kind of underlying system that is hard to fathom.
There is a humanoid form with a bird’s head on the horizon. The figure to its right seems to be an armless statue but with real hair. Within the pillars is a nude female figure, the head is obscured, and the scale is very different suggesting – as this female seems quite real flesh – that the bird-man is a giant… building-sized.
On the left of the picture are a group of women. They are curiously arranged – some half-lying down, some with exposed breasts but otherwise dressed quite fully in rich-looking clothing.
There are shapes suggestive of faces or ‘busts’ scattered over the landscape… all quite close to the line of recognition and could be mistaken for chance rather than portraiture.
Taking the major constructs – the right side is reddish and reminds me of an animal skull, especially a bird, which is holed to save weight – a framework of bone. The colour has a suggestion of flesh.
The next area, where the nude is framed by two pillar-like constructions appears to be a portico. A crane-like construction on top could be the boom of a sailing ship, a line that descends from it could also be a staff of the birdman.
Reading the context [1] in which this work was completed makes clear what the analogy supports: the rain is supposed to be that of the Nazi’s – rain of war – that leaves the landscape stripped of beauty and recognisable habitat. Is the birman the Nazi’s iron eagle looking over it’s desired realm?
A major technique of this work is ‘decalcomania’, which I’ve tried myself back at the start of this course:
…and now I have a name for it (that I can’t pronounce!). The paint seals a gap between the tool (flat glass or plastic) and canvass. Pulling it away from the canvas forces the paint to create gaps to allow air in (since the liquid paint can’t actually stretch or expand itself to fill the increasing volume) and so creates a vertical landscape like mountains.
In this work, there is an apparent texture across the painting consistent with this method being used.
There seems to be a huge cow under the building rubble… perhaps the destruction of food supplies. Can also see a petrified elephant head that might have links to the loss of the British Empire as a side effect of the two world wars.
Max Ernst was evacuated to the U.S.A., helped by Peggy Guggenheim, from incarceration in Nazi Germany in 1942 and finished painting this work there.
Do we see in this picture a devastation that is stranded in a larger world… mountains in the background… perhaps this is viewed from afar. Europe now has to clean up the mess.
[1] Jessica Backus. 2017. Beyond Painting: The Experimental Techniques of Max Ernst. [ONLINE] Available at: https://www.artsy.net/article/jessica-beyond-painting-the-experimental-techniques-of-max. [Accessed 19 December 2017].