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Zustand: Good. 4to. 22.5 x 28cm. Five portfolios with different colored paper covers. Spines are faded, some small tears or cuts at the edge of some covers (with a small loss at the top of the cover of the 2nd notebook). Presented in an elegant black pebbled shagreen slipcase. Each one of 812 numbered copies.Five volume serial novel with 182 line blocks after collages.MoMA: A Week of Kindness (Une Semaine de bonté), is the most elaborate of Ernst's inventive "collage novels." Its 182 images were created by cutting up and reorganizing illustrations from nineteenth-century novels, scientific journals, and other sources. By printing these collages photomechanically, Ernst transformed them into the seamless images he desired. The surreal constructions, alternately dark and humorous in their subversion of bourgeois gentility, are rife with suggestions of repressed sexuality, violence, anti-militarism, and anti-clericalism. Though originally planned as seven volumes, one for each day of the week, the last three "days" were combined into the fifth and final volume. Ernst released them consecutively, like popular serial stories.Luc Monod, no. 4323. First notebook: Sunday, element: Mud, example: The Lion of Belfort. [3] ff., 36 engraved plates (out of 18 ff), [1 bl.f.]. Second notebook: Monday, element: Water, example: Water. [3] ff., 27 engraved plates (out of 14 ff), [1 bl.f.]. Third notebook: Tuesday, element: Fire, example: The Court of the Dragon. [3] ff., 44 engraved plates (out of 22 ff), [1 bl.f.]. Fourth notebook: Wednesday, element: Blood, example: Oedipus. [3] ff., 28 engraved plates (out of 14 ff), [1 bl.f.]. Last notebook: Thursday, element: The Black, examples: The Rooster's Laughter, Easter Island, Friday, element: The View, example: The Interior of the View, Saturday, element: Unknown, example: The Key to the Fields. [4] ff., 16 engraved plates (on 8 ff.), [1 f.], 10 engraved plates (on 5 ff.), [2] ff., 6 pl. heavy (on 3 ff.), [1] f., 4 pl. heavy (on 2 ff.), [1] f., 2 pl. heavy (on 1 f.), [1] f., 10 pl. heavy (on 1 f.), [1 f. bl.]. ?.No. 416 of 800 on Navarre paper. Apart from the small defects on the covers, a very good set, well preserved and very complete. Invited to the Château de Vigolino in Italy in August 1933, Max Ernst drew on the library of his hostess, the Duchess of Gramont, to cut out illustrations from various works of the previous century (such as Les Damnées de Paris by Jules Mary or works illustrated by Gustave Doré) and thus constitute a fantastic set of 184 collages, 182 of which were selected to be published in 5 booklets by the gallery owner Jeanne Bucher. Initially planned in seven booklets (for each day of the week, each with an element and an associated "example"), the poor sales of the first four forced the condensing of the last 3 days into a 5th and final volume. This is Max Ernst's third collage novel after The Woman with 100 Heads (1929) and Dream of a Little Girl Who Wanted to Enter Carmel (1930). The original collages, of an incredible degree of perfection and refinement, were exhibited for the first time at the Museo de Arte Moderno in Madrid in 1936 (except for 5 plates deemed too blasphemous), before being rediscovered only in 2008-2009 during a series of exhibitions passing through Vienna, Brühl, Hamburg, Madrid and finally Paris at the Musée d'Orsay, provoking the enthusiasm of the public and the press? the dreamlike force, the impressive disturbance of déjà vu bewitch. Each rape perpetrated by a statue from Easter Island emerging from behind a curtain, each torture of a man with a bird's head, each woman in a crinoline surrounded by dragons, each staging of a crime that is always absurd: all this goes straight to the brain. And once seen, it is impossible to forget these madnesses." (Le Figaro, June 30, 2009, Éric Biétry-Rivierre). "In Une semaine de bonté, the scenes and events that unfold over the pages form a striking contrast with the title. Power, violence, torture, murder and catastrophes are the dominant themes. The scenes full of agitation and brutality that appear on many pages are to be linked to the alarming political situation of the time and the rise of dangers. Ernst was reacting to the establishment of dictatorships in Europe and the seizure of power by the National Socialists. His contemporary concerns are intertwined with allegories, allusions to mythology, Genesis, fairy tales and legends, but also fragments of dreams and poetic worlds. The work is also pervaded by themes dear to the author: sexuality, anticlericalism, the rejection of family and the bourgeoisie, the refusal of patriotism. It is ultimately a certain form of society that Max Ernst seems to want to denounce?His irreverent collages reflect the state of mind of his men, who returned traumatized from the First World War (he himself served in the German artillery) and who had to find their place in a society that was doing everything possible to forget the horrors of the conflict. He seizes upon conventional, stereotypical representations of evil, abjection, and suffering found in newspapers, magazines, and novels. But by transforming them and combining them, he radically diverts these images from their original message and reinforces their impact." Presentation of the Musée d'Orsay exhibition, "Max Ernst 'A Week of Goodness' - The Original Collages", June 30 - September 13, 2009?.