Loplop, or more formally, Loplop, Father Superior of the Birds,[1]: 62 p. is the name of a birdlike character that was an alter ego of the Dada-Surrealist artist Max Ernst. Ernst had a ongoing fascination with birds, which often appear in his work.[2]: 182 p. Loplop functioned as a familiar animal. William Rubin wrote of Ernst "Among his more successful works of the thirties are a series begun in 1930 around the theme of his alter ego, Loplop, Superior of the Birds."[2]: 316 p. Loplop is an iconic image of surrealist art, the painting Loplop Introduces Loplop (1930) appears on the front cover of the Gaëtan Picon's book Surrealist and Surrealism 1919-1939,[3] and the drawing and collage Loplop Presents (1932) was used as the frontispiece of Patrick Waldberg's book Surrealism. [1]
Max Ernst. Loplop Introduces Loplop. 1930. Oil and various materials on wood. 100 x 180 cm. The Menil Collection, Houston, Texas
Loplop first appeared in Ernst's collage novelsLa Femme 100 Têtes and Une Semaine de Bonté in the role of a narrator and commentator,[4]: 162 p. followed by a number of works into the mid 1930s, forming an informal series of collages, paintings, and mixed media works.[4]: 172 p.
Loplop's image was not a fixed character, but highly variable in appearance and seldom depicted in the same way twice. Typically (but not always), Loplop had the head of a bird, which could be highly abstracted, often a bird with a crest, comb, or wattle. The body was a square or rectangular space (a canvas, frame, easel, or wall), with the arms and legs being zoomorphic or geometric abstraction in form. Within the "body", an image, a piece of Max Ernst's art is presented (a collage, frottage, painting, etc.) which could be equal to, or function independently from the rest of the work.[5]: 68 p. [4]: 172-178 p. See external links below, The Menil Collection, Houston, Texas: 3 Loplop drawings, for some typical examples.
The German art historian Uwe M. Schneede offered his view —
By letting his pictures be presented through an intermediary — his art figure — rather than by himself, Ernst has changed his role, or, better still, he is showing more clearly where he stands in relation to his work. The artist-and-model iconography is adopted and, at the same time, twisted. The artist appears as his own exhibitor and intermediary: he shows his products and thus demonstrates their availability. This seems to indicate a basic change in Ernst relation toward his artistic activity — a kind of coming into the clear. At forty, he seems to have freed himself from the need to pictorialize oppressive childhood experiences and also from the rules of Surrealism, to the point where he can —with sovereign ease — make his liberating creative work (and thus the creative process itself) his main theme.[5]: 68 p.
Samantha Kavky stated in the abstract of her journal article Authorship and Identity in Max Ernst's Loplop —
I suggest that Ernst models Loplop on the father/totem, as defined by Sigmund Freud in his Totem and Taboo of 1913. An exploration of Ernst's interpretation of Freudian theory in creating Loplop illuminates the character's surprising complexity and centrality to Ernst's oeuvre. As a totem, Loplop emerges from a primary oedipal conflict on which Ernst structures his artistic identity and practice. Equating traditional notions of creative authorship with various forms of patriarchal authority, Ernst's constructed totem signifies his personal, aesthetic and political rejection of individual mastery in favour of his fraternal allegiance to the surrealist group and his embrace of surrealist automatist practices.[6]
Ernst was familiar with Freud's writing and titled one of his later paintings Totem and Taboo (1941, private collection).[4]: 222 p.
Loplop Introduces the Members of the Surrealist Groupe (1931), collage, photographs, frottage, and pencil on paper, 50.2 x 33.7 cm. The Museum of Modern Art, New York
Loplop Presents Grapes (1931), graphite on paper with gouache mounted on paperboard, 64.8 × 49.5 cm., Menil Collection, Houston
Loplop Presents la Marseillaise (1931), graphite frottage on paper mounted on paper, 31.1 × 22.9 cm., Menil Collection, Houston
Facility: Loplop Introduces (1931), collage and pencil on paper, 65 x50 cm., formerly Roland Penrose collection, London
Loplop Introduces (1932), collage and frottage with drawing, gouache, printed marble paper, paint, and crayon on paper, 50 x 64.5 cm., Art Institute of Chicago, Chicago
Loplop Presents (1932), collage, botanical lithograph, graphite on pape 63.4 × 49.6 cm., Art Institute of Chicago, Chicago
Publicationsedit
Spies, Werner (1998), Max Ernst, Loplop. DuMont Reiseverlag, Ostfildern. ISBN3770145526 (German language)
Kavky, Samantha (2005). Authorship and Identity in Max Ernst's Loplop. Art History, 28 (3): 357-385 pp.
Legacyedit
Rikki Ducornet's novel Phosphor in Dreamland (1995) partially concerns the plight of the "lôplôp" bird, endemic to the fictionalized Caribbean island of Birdland. Perhaps deliberately to keep with the variability of Ernst's loplop, Ducornet never describes the lôplôp in detail but instead emphasizes its shape-shifting capabilities, usually into that of a woman with animal body parts.
Referencesedit
^ abWaldberg, Patrick (1962) Surrealism, The Taste of Our Time, Vol. 37, Editions D'Art Albert Skira, Geneva, 151 pp.
^ abRubin, William S. (1968) Dada and Surrealist Art. Harry N. Abrams, Inc., Publishers, New York. 525 pp.
^Picon, Gaëtan (1977) Surrealist and Surrealism 1919- 1939. Skira/Rizzoli International Publications, Inc. New York. 231 pp. ISBN0-8478-0041-5
^ abcdQuinn, Edward, with contribution from Max Ernst, Uwe M. Schneede, Patrick Waldberg, and Diane Waldman. (1977) Max Ernst. New York Graphic Society (Little, Brown, and Company), Boston. 444 pp. ISBN0-8212-0711-3
^ abSchneede, M. Uwe (1974) Surrealism. The Library of Great Art Movements. Harry N. Abrams, Inc., Publishers. New York. 144 pp.ISBN0-8109-0499-3
^Kavky, Samantha (2005). Authorship and Identity in Max Ernst's Loplop. Art History, 28 (3): 357-385 pp.
External linksedit
The Menil Collection, Houston, Texas: 3 Loplop drawings (accessed February 14, 2021)
This article about a literature character is a stub. You can help Wikipedia by expanding it.
loplop, episode, fargo, fargo, more, formally, father, superior, birds, name, birdlike, character, that, alter, dada, surrealist, artist, ernst, ernst, ongoing, fascination, with, birds, which, often, appear, work, functioned, familiar, animal, william, rubin,. For the episode of Fargo see Loplop Fargo Loplop or more formally Loplop Father Superior of the Birds 1 62 p is the name of a birdlike character that was an alter ego of the Dada Surrealist artist Max Ernst Ernst had a ongoing fascination with birds which often appear in his work 2 182 p Loplop functioned as a familiar animal William Rubin wrote of Ernst Among his more successful works of the thirties are a series begun in 1930 around the theme of his alter ego Loplop Superior of the Birds 2 316 p Loplop is an iconic image of surrealist art the painting Loplop Introduces Loplop 1930 appears on the front cover of the Gaetan Picon s book Surrealist and Surrealism 1919 1939 3 and the drawing and collage Loplop Presents 1932 was used as the frontispiece of Patrick Waldberg s book Surrealism 1 Max Ernst Loplop Introduces Loplop 1930 Oil and various materials on wood 100 x 180 cm The Menil Collection Houston Texas Contents 1 The series 1 1 Partial list of works 2 Publications 3 Legacy 4 References 5 External linksThe series editLoplop first appeared in Ernst s collage novels La Femme 100 Tetes and Une Semaine de Bonte in the role of a narrator and commentator 4 162 p followed by a number of works into the mid 1930s forming an informal series of collages paintings and mixed media works 4 172 p Loplop s image was not a fixed character but highly variable in appearance and seldom depicted in the same way twice Typically but not always Loplop had the head of a bird which could be highly abstracted often a bird with a crest comb or wattle The body was a square or rectangular space a canvas frame easel or wall with the arms and legs being zoomorphic or geometric abstraction in form Within the body an image a piece of Max Ernst s art is presented a collage frottage painting etc which could be equal to or function independently from the rest of the work 5 68 p 4 172 178 p See external links below The Menil Collection Houston Texas 3 Loplop drawings for some typical examples The German art historian Uwe M Schneede offered his view By letting his pictures be presented through an intermediary his art figure rather than by himself Ernst has changed his role or better still he is showing more clearly where he stands in relation to his work The artist and model iconography is adopted and at the same time twisted The artist appears as his own exhibitor and intermediary he shows his products and thus demonstrates their availability This seems to indicate a basic change in Ernst relation toward his artistic activity a kind of coming into the clear At forty he seems to have freed himself from the need to pictorialize oppressive childhood experiences and also from the rules of Surrealism to the point where he can with sovereign ease make his liberating creative work and thus the creative process itself his main theme 5 68 p Samantha Kavky stated in the abstract of her journal article Authorship and Identity in Max Ernst s Loplop I suggest that Ernst models Loplop on the father totem as defined by Sigmund Freud in his Totem and Taboo of 1913 An exploration of Ernst s interpretation of Freudian theory in creating Loplop illuminates the character s surprising complexity and centrality to Ernst s oeuvre As a totem Loplop emerges from a primary oedipal conflict on which Ernst structures his artistic identity and practice Equating traditional notions of creative authorship with various forms of patriarchal authority Ernst s constructed totem signifies his personal aesthetic and political rejection of individual mastery in favour of his fraternal allegiance to the surrealist group and his embrace of surrealist automatist practices 6 Ernst was familiar with Freud s writing and titled one of his later paintings Totem and Taboo 1941 private collection 4 222 p Partial list of works edit Loplop Introducing a Bird 1929 1957 plaster oil and wood 102 2 123 2 cm Museum of Contemporary Art Chicago Chicago Loplop Introduces Loplop 1930 oil and mixed media on wood 100 x 180 cm Menil Collection Houston Loplop Introduces a Young Girl 1930 oil and mixed media on wood 175 x 89 cm Musee National d Art Moderne Paris Anthropomorphic Figure and Shell Flowers Loplop Introduces a Flower c 1930 oil and collage on wood 99 x 81 cm private collection Loplop Presents 1930 graphite frottage on paper 29 8 21 6 cm Menil Collection Houston Loplop Introduces the Members of the Surrealist Groupe 1931 collage photographs frottage and pencil on paper 50 2 x 33 7 cm The Museum of Modern Art New York Loplop Presents Grapes 1931 graphite on paper with gouache mounted on paperboard 64 8 49 5 cm Menil Collection Houston Loplop Presents la Marseillaise 1931 graphite frottage on paper mounted on paper 31 1 22 9 cm Menil Collection Houston Facility Loplop Introduces 1931 collage and pencil on paper 65 x50 cm formerly Roland Penrose collection London Loplop Introduces 1932 collage and frottage with drawing gouache printed marble paper paint and crayon on paper 50 x 64 5 cm Art Institute of Chicago Chicago Loplop Presents 1932 collage botanical lithograph graphite on pape 63 4 49 6 cm Art Institute of Chicago ChicagoPublications editSpies Werner 1998 Max Ernst Loplop DuMont Reiseverlag Ostfildern ISBN 3770145526 German language Kavky Samantha 2005 Authorship and Identity in Max Ernst s Loplop Art History 28 3 357 385 pp Legacy editRikki Ducornet s novel Phosphor in Dreamland 1995 partially concerns the plight of the loplop bird endemic to the fictionalized Caribbean island of Birdland Perhaps deliberately to keep with the variability of Ernst s loplop Ducornet never describes the loplop in detail but instead emphasizes its shape shifting capabilities usually into that of a woman with animal body parts References edit a b Waldberg Patrick 1962 Surrealism The Taste of Our Time Vol 37 Editions D Art Albert Skira Geneva 151 pp a b Rubin William S 1968 Dada and Surrealist Art Harry N Abrams Inc Publishers New York 525 pp Picon Gaetan 1977 Surrealist and Surrealism 1919 1939 Skira Rizzoli International Publications Inc New York 231 pp ISBN 0 8478 0041 5 a b c d Quinn Edward with contribution from Max Ernst Uwe M Schneede Patrick Waldberg and Diane Waldman 1977 Max Ernst New York Graphic Society Little Brown and Company Boston 444 pp ISBN 0 8212 0711 3 a b Schneede M Uwe 1974 Surrealism The Library of Great Art Movements Harry N Abrams Inc Publishers New York 144 pp ISBN 0 8109 0499 3 Kavky Samantha 2005 Authorship and Identity in Max Ernst s Loplop Art History 28 3 357 385 pp External links editThe Menil Collection Houston Texas 3 Loplop drawings accessed February 14 2021 Attirement of the Bride at Guggenheim Museum nbsp This article about a literature character is a stub You can help Wikipedia by expanding it vte Retrieved from https en wikipedia org w index php title Loplop amp oldid 1185815094, wikipedia, wiki, book, books, library,
