Friday’s Ernst is a gorgeous, grotesque erotic fantasy. Ernst’s art is always cryptic and open to a wide range of interpretations but any interpretation of The Robing of the Bride will fall woefully short before this magnificent, sumptuous masterpiece.
The long-legged, small breasted Bride is robed in spectacular, vivid red feathered cloak which also completely covers the face with the exception of a pair of owl eyes and a beak. To the left is a bird warrior/attendant whose spear (surely the symbolism is deliberate) is broken before the sexual glory of the Bride-Queen. To the right is a tiny weeping four-breasted hermaphroditic monster. Behind is an enraptured pale-skinned naked women with a stunning headdress that Ernst fashioned using decalcomania. The picture on the wall of another bride of another time amidst classical ruins also uses decalcomania for her robes.
Of all Ernst paintings The Robing of the Bride has the most visible alchemical and esoteric elements. The Bride is generally accepted as being inspired by Ernst’s lover and fellow Surrealist artist Leonora Carrington. Ironically the painting can be seen in the Peggy Guggenheim Collection in Venice. Both Guggenheim and Carrington were involved in a bitter rivalry for Ernst’s affectation. Guggenheim would become Ernst’s third wife in 1942 but the union was short lived. Ernst married his fourth wife Dorothea Tanning in 1946, they were to remain married until Ernst’s death in 1976