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Untitled (Unpublished collage for 'Une Semaine de Bonté') 1934

Not on display

Ernst was a key artist in the surrealist movement. His method of combining images from unrelated worlds to create a strange and often deeply unsettling new environment is at the heart of his art, whether in the form of painting or collages. Beginning in 1929, Ernst produced three collage-novels, each made up of a series of collages using old nineteenth-century engravings. The engravings Ernst selected were originally from the book, ‘Martyre’ by Adolphe d’Ennery (1885). In 1934 he created the third novel, ‘Une semaine de bonté ou Les sept éléments capitaux’. It was almost entirely funded by his close friend, the artist and collector, Sir Roland Penrose. Ernst gave Penrose this original collage.

Glossary Open


An image constructed from found materials, such as photographs, paper or fabric, glued to a surface, sometimes with additional painted or drawn elements. It is an art form particularly associated with Dada and Surrealism.


The printmaking technique in which an image is inscribed on a copper plate with a tool that cuts a groove in the surface. This groove holds the ink that creates the print when it is applied to paper. Also refers to the method of making an incision on a material such as glass.


A literary and artistic movement founded by the poet André Breton in 1924. Many of the associated artists, such as Max Ernst and Jean Arp, had previously been involved with Dadaism. The movement sought to challenge conventions through the exploration of the subconscious mind, invoking the power of dreams and elements of chance. Cultural hierarchies were challenged by the combination of diverse elements in collages and sculptural assemblages. The movement is also notable for the collaborations between artists and writers evident in the Surrealists' many publications.

Collage, Engraving, Surrealism


  • Acc. No. GMA 4474
  • Medium Collage of engravings on card
  • Size paper size: 19.90 x 13.90 cm (framed: 32.20 x 26.00 cm)
  • Credit Purchased with assistance from the Patrons of the National Galleries of Scotland, 2002