{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O82939"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O82939/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AD1414/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AD1414/","_alt_iiif_image":[],"imageResolution":"low","_images_meta":[{"assetRef":"2006AD1414","copyright":"©Victoria and Albert Museum, London/The Estate of Frederick Sommer Courtesy Pace/MacGill, New York","sensitiveImage":false}]},"see_also":null},"record":{"systemNumber":"O82939","accessionNumber":"E.997-1993","objectType":"Photograph","titles":[{"title":"Max Ernst","type":"assigned by artist"}],"summaryDescription":"The Surrealist Max Ernst (1891–1976) had a significant influence on Frederick Sommer. They first met in 1941 and became closer when Ernst moved to Arizona in 1946, where Sommer also lived. In his portrait of Ernst, Sommer uses double exposure, combining a photograph of the artist with one of water stains on cement. In doing so, he evokes the Surrealist technique of <i>frottage</i> (rubbing) and transforms an otherwise straightforward portrait into an uncanny homage.","physicalDescription":"Portrait of Max Ernst.","artistMakerPerson":[{"name":{"text":"Sommer, Frederick","id":"A10056"},"association":{"text":"photographer","id":"AAT25687"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"photographic paper","id":"AAT14190"}],"techniques":[{"text":"gelatin silver process","id":"AAT139114"}],"materialsAndTechniques":"photographic paper, photography","categories":[{"text":"Photographs","id":"THES48910"},{"text":"Uncanny","id":"THES379132"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2006AD1414"],"imageResolution":"low","galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"X","shelf":"989","box":"B"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Arizona","id":"x29778"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1946","earliest":"1946-01-01","latest":"1946-12-31"},"association":{"text":"photographed","id":"x30151"},"note":""}],"associatedObjects":[],"creditLine":"Given by the photographer","dimensions":[{"dimension":"Height","value":"19","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"24","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"'Max Ernst', 1946 photograph by Frederick Sommer (1905-1999)","bibliographicReferences":[],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Ernst, Max","id":"N4463"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Arizona avant-garde \r\n\r\nThese two photographs show Sommer's mastery of photographic technique and his engagement with the ideas and practices of Surrealism. \r\n\r\nSommer settled in Prescott, Arizona, in 1935. In the same year he travelled to New York to show his drawings to Alfred Stieglitz, the great pioneer of modern photography. This encounter, and the introduction to other artists associated with Stieglitz's gallery, had a decisive impact on Sommer. The following year he also met Edward Weston, whose photographs he greatly admired. Stieglitz and Weston became mentors and encouraged Sommer to pursue his interest in photography. \r\n\r\nAnother significant influence was the Surrealist Max Ernst. They first met in 1941 and became closer when Ernst also moved to Arizona in 1946. In his portrait of Ernst, Sommer uses double exposure, combining a photograph of the artist with one of water stains on cement. In doing so, he evokes the Surrealist technique of 'frottage' (rubbing) and transforms an otherwise straightforward portrait into an uncanny homage.","date":{"text":"","earliest":null,"latest":null}}],"partNumbers":["E.997-1993"],"accessionNumberNum":"997","accessionNumberPrefix":"E","accessionYear":1993,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-12","recordCreationDate":"2003-07-30","availableToBook":false}}