Bronze with dark brown ptina. Verso on the plinth edge with the signature, numbering, and foundry stamp “Cire Valsuani Perdue”. From an edition of 175 copies. 34.5 x 18 x 17 cm.
Cast by Valsuani Paris. There are three editions that differ in in patination. Made after a plaste model from 1964. [EH].
- “Chéri Bibi” is a prime example of Max Ernst’s bold implementation of a minimalist and at the same time naively liberated surreal style. - The iconography of the bird is a recurring theme in his entire oeuvre. - Max Ernst participated in documenta I, II, and III. - As a key figure of the German-French avant-garde, Max Ernst is represented in international collections, including the Solomon R. Guggenheim Museum, the Metropolitan Museum, and the Museum of Modern Art in New York, the Centre Pompidou in Paris, and the Tate Gallery in London.
LITERATURE: Jürgen Pech, Lieber Bibi, in: Max Ernst - Plastische Werke, Cologne 2005, p. 206 (illu. in color on p. 207).

Private collection North Rhine-Westphalia

His later work is characterized by recurring references to motifs and techniques from earlier creative phases. The fusion of figure and pedestal, the composition of basic geometric forms, the disc-like conception, and the reduction of anthropomorphic forms make the sculptures at once abstract and figurative. “Chéri Bibi” refers to the novel character of the same name, created by Gaston Leroux, who escapes from prison several times. At the same time, “Chéri Bibi,” which resembles a baby bird with its large eyes and pointed beak, follows in the tradition of the bird iconography found throughout Max Ernst’s oeuvre. Although the bird is the central symbol of freedom for the artist, he shows it as if trapped within itself; the cage and the animal seem to merge, the little bird looks at the viewer, yet is unable to move. Strikingly, Max Ernst shows that freedom cannot be assumed but must be fought for at all times.

In good condition. One scratch in the patina near the base, as well as slight abrasions on the reverse side.