Leo Martínez
Max Ernst's 1921 painting 'The Elephant Celebes' is considered one of the earliest examples of surrealist painting. The composition includes a central mechanical monster with horns, a decapitated female mannequin, a totem-like sculpture, and two flying fish in the top left corner. The painting combines dreamlike surrealism with the collage aspects of Dadaism, reflecting Ernst's interest in psychoanalysis and his desire to explore the irrational subconscious. The title 'Celebes' is derived from a German schoolboy rhyme, and the painting's subject matter and form are influenced by a range of factors, including a photograph of a grain silo and the artist's traumatic experiences during World War I.
| Characteristics | Values |
|---|---|
| Painting Name | The Elephant Celebes |
| Artist | Max Ernst |
| Year | 1921 |
| Place | Cologne |
| Owner | Bought by poet Paul Eluard; later passed to Sir Roland Penrose, who owned it until 1975 |
| Current Location | Tate gallery, London |
| Style | Surrealist |
| Medium | Oil on canvas |
| Inspiration | Photograph of a grain silo or "corn bin" from the Konkomba culture of Western Sudan; German schoolboy rhyme about an elephant from Celebes |
| Elements | Mechanical monster with horns, decapitated female mannequin with a surgical glove, totem-like sculpture, circular gold object, vertical poles, flying fish, clouds, sky, water |
| Texture | Smooth and rough areas, with thicker paint in some parts |
| Lines | Curved, vertical, diagonal, horizontal, zig-zagged |
| Symbolism | Subconscious, death, destruction, war trauma, sexual connotations |
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What You'll Learn
Surrealist influences
Max Ernst's painting "The Elephant Celebes" is considered one of the earliest examples of surrealistic painting. Completed in 1921, it is among the most famous of Ernst's early surrealist works and has been described as "the first masterpiece of Surrealist painting in the de Chirico tradition."
The painting depicts a large, almost gigantesque and rounded, elephant-like creature or structure. This was influenced by the shape of a corn bin or grain silo attributed to the Konkomba culture of Western Sudan. The figure's round body was modelled after Robert Schomburgk's photograph of a three-legged clay guinea corn bin from this culture, which was published in a travel memoir and an anthropological journal. The painting combines found imagery and non-Western visual elements, with Ernst superimposing his own symbolism onto the structure, making it appear almost mechanical.
The composition is made up of several seemingly unrelated elements, reflecting the early surrealist style and challenging conventional artistic norms. The most obvious element is a central mechanical monster with an appendage with horns at the end. On the right of the monster is a decapitated female mannequin wearing a surgical rubber glove, a common Surrealist symbol. There is also a totem-like sculpture, which may symbolise a phallus, and a circular gold object. These elements may represent the abduction of Europa by Zeus in the form of a bull, with the bull horns of the central creature and the bull-like colouring of the background sky.
The painting's palette and spatial construction show the influence of Giorgio de Chirico, who is often quoted as one of Ernst's greatest influences. De Chirico began painting empty and dreamlike city squares with strange combinations of objects, and Ernst's painting attempts to apply Dada's collage effects to simulate different materials. Ernst's realistic portrayal of the constituent elements produces a hallucinatory effect that he associated with collage and was trying to achieve in this work.
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Dadaist influences
Max Ernst's 1921 painting, "The Elephant Celebes", is considered one of the earliest examples of surrealistic painting and is among the most famous of his early works. The painting is also considered a masterpiece of Dadaist art, combining the dreamlike atmosphere of Surrealism with the collage aspects of Dada.
The painting depicts a large, elephant-like creature with a trunk-like hose protruding from it. The creature's body was modelled after a photograph of a three-legged clay corn bin from the Konkomba culture of West Africa. The corn bin's resemblance to a grain silo or military tank may allude to the "mechanical terror of war experience", reflecting Ernst's traumatic experience serving in World War I.
The use of unrelated elements in the composition reflects the early surrealist style and challenges conventional artistic norms. The painting includes a decapitated female mannequin wearing a surgical glove, a totem-like sculpture, and two flying fish in the sky, suggesting an underwater scene. These elements create a hallucinatory effect, simulating different materials and exploring the irrational subconscious.
Ernst's use of collage and free-association techniques, influenced by Freud's psychoanalysis, contribute to the surrealistic and Dadaist qualities of the painting. The title "Celebes" also adds to the work's symbolism, referencing a German schoolboys' rhyme with sexual connotations: "The elephant from Celebes has sticky, yellow bottom grease".
Overall, "The Elephant Celebes" is a groundbreaking work that blends Dadaist collage with surrealistic imagery, reflecting Ernst's creative talent and psychological interests.
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The mechanical monster
The monster is a large, rounded, elephantine creature with a trunk-like hose protruding from it. It has been likened to a mechanical monster, with an appendage with horns at the end. The creature's body was modelled after a photograph of a three-legged clay guinea corn bin from the Konkomba culture of West Africa. Ernst's creature has a frilly metallic cuff or collar, and a horned head and tail. The low horizon emphasises the creature's bulk.
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The decapitated female mannequin
Max Ernst's 1921 painting "The Elephant Celebes" features a decapitated female mannequin as one of its elements. The mannequin is located to the right of the central mechanical monster in the painting. It is depicted wearing a surgical rubber glove, which is a common Surrealist symbol. The mannequin is headless, and its pose introduces viewers to the figure in the painting.
The inclusion of the decapitated female mannequin in "The Elephant Celebes" is thought to be influenced by Ernst's traumatic experiences during World War I. The painting as a whole explores the irrational subconscious and is considered one of the earliest examples of Surrealist painting. Ernst's use of collage and free-association techniques contributes to the dreamlike and hallucinatory effect of the work.
The mannequin in "The Elephant Celebes" may also carry mythological connotations. Some interpret the mannequin as suggesting the abduction of Europa by Zeus in the form of a bull. This interpretation is supported by the presence of bull horns on the creature in the painting. Additionally, the totem-like sculpture next to the mannequin has been analysed as a possible phallic symbol, further emphasising the mythological interpretation.
Overall, the decapitated female mannequin in "The Elephant Celebes" by Max Ernst is a crucial element that contributes to the painting's surrealistic and symbolic nature. Its presence enhances the composition's thought-provoking nature and adds to the exploration of the subconscious themes that Ernst intended to convey.
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Phallic symbolism
Max Ernst's 1921 painting "The Elephant Celebes" is considered one of the earliest and most famous examples of surrealistic painting. The composition includes a range of seemingly unrelated elements, including a central mechanical monster with horns, a decapitated female mannequin, a totem-like sculpture, and two flying fish. The painting combines the dreamlike atmosphere of Surrealism with the collage aspects of Dada, reflecting Ernst's interest in psychoanalysis and his traumatic experiences during World War I.
The presence of the totem-like sculpture and its potential phallic symbolism adds to the surrealistic nature of the painting, inviting viewers to explore the unconscious and dissident ideas that Ernst incorporated into his artwork. The interpretation of the totem-like sculpture as a phallic symbol contributes to the overall dreamlike and hallucinatory effect that Ernst sought to achieve in his work.
Furthermore, the mechanical monster with horns and the horned head of the creature in the painting may also carry phallic connotations. The horns, particularly when combined with the headless female mannequin, can symbolize male virility and power. This interpretation aligns with the influence of Freud's psychoanalytic theories, which often explored the symbolism of power and sexuality.
The phallic symbolism in "The Elephant Celebes" is part of Ernst's exploration of the irrational subconscious and his attempt to depict the mechanical terror of war experiences. By incorporating these symbols, Ernst creates a composition that goes beyond the visual and invites viewers to delve into the deeper layers of meaning and interpretation. The painting's blend of surrealism and symbolism challenges conventional artistic norms and reflects Ernst's creativity and talent as a leading artist in the Dada and Surrealist movements.
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Frequently asked questions
The animal featured in the painting is an elephant, though its form is not immediately obvious. The painting is considered one of the earliest examples of surrealistic painting.
The painting's title, "The Elephant Celebes", is a reference to a German schoolboys' rhyme: "The elephant from Celebes has sticky, yellow bottom grease". The painting depicts a large, rounded, elephantine creature with a trunk-like hose protruding from it.
On the right of the elephant is a decapitated female mannequin wearing a surgical rubber glove. There is a totem-like sculpture, a circular gold object, and two vertical poles on the left of the elephant. There are at least two flying fish in the top left corner, and the background could be water or sky.
Max Ernst was inspired by a photograph of a grain silo or "corn bin" from the Konkomba culture of Western Sudan. The shape of the corn bin resembles the elephant in the painting. Ernst also drew on his experience of World War I and his interest in psychoanalysis.
