Currently not on view
Un ami empressé,
1944, cast 1957
More Context
Special Exhibition
<p>André Breton (1896–1966), founder of the Surrealist movement, began collecting katsina figures in 1927, as did Max Ernst in the early 1940s, before taking up residence in Sedona, Arizona. Abstract African guardian and Native American katsina sculpture presented newly discovered systems of knowledge and cultural ideas that fascinated twentieth-century artists. In the objects’ original cultural contexts, however, abstraction may not have been an artistic or stylistic preference. Instead, the level of abstraction might have imbued the artifact with spiritual power.</p>
Information
1944, cast 1957
Sylvia Slifka, bequest; to Princeton University Art Museum, 2004.
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Sam Hunter, et. al., <em>Max Ernst: sculpture and recent painting</em>, (New York, NY: Jewish Museum, 1966).
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<em>Max Ernst: fragments of Capricorn and other sculptures: Sedona, Arizona, 1948: Arnold Herstand & Company ... November 8-December 29, 1984</em>, (New York: Arnold Herstand & Company, 1984).
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<p>Werner Spies, <em>Max Ernst: sculptures, maisons, paysages</em>, (Paris: Centre Georges Pompidou; Cologne: Dumont, 1998).</p>
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"Acquisitions of the Princeton University Art Museum 2004," <em>Record of the Princeton University Art Museum</em> 64 (2005): p. 91-135., p. 128
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The Museum regularly researches its objects and their collecting histories, updating its records to reflect new information. We also strive to catalogue works of art using language that is consistent with how people, subjects, artists, and cultures describe themselves. As this effort is ongoing, the Museum’s records may be incomplete or contain terms that are no longer acceptable. We welcome your feedback, questions, and additional information that you feel may be useful to us. Email us at collectionsinfo@princeton.edu.
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