Dorothea Tanning

DOROTHEA TANNING
(B. 1913)

L’Imposteur Merovingien
Oil on canvas, 13 1/16 X 9 3/8 inches
Signed (at lower right): Dorothea Tanning
Titled and signed (on verso): L’imposteur merovingien Dorothea Tanning

Executed in 1956

Recorded: Alain Bosquet, Dorothea Tanning Paris: J.J. Pauver, Editeur, 1966, p. 91 (illus.); Dorothea Tanning: Oeuvre, Retrospective exhibition catalogue, Centre National d’Art Contemporain, Paris, 1974, p. 72 (illus.); Dorothea Tanning: Numero Special de Xxe Siecle, Paris, Editions Xxe Siecle, 1977, p. 106 (illus.); Bailly, Jean Christophe, Dorothea Tanning, New York, George Brazilier, 1995, plate 71 (illus.), p. 108.

Ex. coll: Roland Penrose, England; Antony Penrose (by descent); The Mayor Gallery, London.

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L’Imposteur Merovingien

Myths and legends, especially those concerned with subjugation, repression, human sacrifice and illicit force, inspired the Surrealists. These subjects often become part of the collective subconscious, and were natural sources for artists like Dorothea Tanning. In the 8th century A. D. French legend of the Merovingian Imposter, the subjects are subjugated by pretenders to the Merovigian throne. In this painting, the Merovingian imposter is represented by the nebulous male image. He forcefully holds down a female figure, who represents the subjugated French people. On a more personal level the painting could also allude to Tanning’s own experiences as a woman and artist; one of repression and denigration at the hands of her male contemporaries, particularly her husband and fellow artist, Max Ernst.