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Leon Amiel Publisher | 1975 | ISBN: 0814806260 | English | 144 pages | PDF | 18.5 MB

One of the founders of the Dadaist group in Cologne, Max began by refusing traditional painting. His imagination was more likely to be stimulated by the patterns on a mahogony panel, the grain of a wooden floor, or by what he saw in a mechanical catalogue. He became an expert in the exploitation of chance effects, using the techniques of collage and frottage to express the hidden meaning of things, which he always integrated into his very personal mythology. In this way he re-invented painting, yet what interested him was less the plasticity of the image than the way in which it gave birth to new, unknown worlds. Of all the Surrealist painters, Max is unquestionably the most lyrical. His work may be defined as that "forest of symbols" which observes man with "familiar regards". Despite the sense of foreboding his works hint at, they have an encompassing power. Through his supremely child-like vision Max leads us to experience the world as a fable.




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