Peters Projects of Santa Fe, and Gerald Peters Gallery, New York are proud to present Max Ernst tapestries, woven by Yvette Cauquil-Prince.
An early leader of the Dada movement and one of the founding fathers of Surrealism, German born Max Ernst (1891 – 1976) was a profound influence on generations of American and European artists. Ernst’s paintings, collages, and sculptures, first produced in New York and later in Arizona, were a significant influence on the emerging Abstract Expressionists.
In 1946, Ernst and his wife, Dorothea Tanning, left New York and relocated to Sedona, Arizona, a remote outpost at the time, inhabited only by ranchers, orchard workers, and small Native American communities. Despite the isolated location, he and Tanning entertained intellectuals and artists and formed what would become an American artists’ colony. Mesmerized by the high desert landscapes and an avid interest in Native American art and culture, Ernst felt a deep connection to the region.
The Belgian born Cauquil – Prince (1928 – 2005) was renowned for the beautifully interpreted tapestries she created in collaboration with prominent modern artists. Considered one of the great weavers of the 20th century, she is credited with redefining the art form. Though most often associated with her extensive collaborations with Marc Chagall, the master artisan has also created tapestries for Paul Klee, Fernand Léger, Wassily Kandinsky, Alexander Calder, Pablo Picasso, and others.
Included in the exhibition are Cauquil-Prince’s interpretations of several of Max Ernst’s most renowned works, which were painted in the 1930s, including The Entire City (1935/36) and The Petrified City (1933). Though both works were painted in France prior to Ernst ever setting eyes on the vistas of the Southwest, these remarkable landscapes immediately recall the striking plateaus and mesas of the Southwestern region. When Ernst first crossed the Sedona desert in a cross country trip in the early 1940s, he was astonished to see that the landscapes he had explored artistically in his paintings actually existed, an indication of the predisposed connection he had with the region.