André Masson
Ophelia
1936
Scroll
André Masson
Ophelia
1936
Physical Qualities
Oil on canvas, Unframed: 44 3/4 × 57 3/4 in. (113.7 × 146.7 cm.)
Framed: 47 × 59 × 3 3/8 in. (119.4 × 149.9 × 8.6 cm.)
Credit Line
Bequest of Saidie A. May
Object Number
1951.328
The Baltimore Museum of Art, by bequest, 1951; Saidie A. May, by purchase 1938; from artist André Masson via Galerie Simon, Paris
Galerie Beaux-Arts, Paris, January-February, 1938.
The Baltimore Museum of Art. "Modern Painting Isms and how They Grew", January 12-February 11, 1940.
The Baltimore Museum of Art, "The Saidie A. May Collection of Modern paintings and Sculpture", March 17-April 16, 1950, cat. 68.
Wadsworth Atheneum Museum of Art, Hartford, CT, "Impressionism to Surrealism from The Baltimore Museum of Art. Selections from the Collections of Claribel and Etta Cone, Saidie Adler May, and Blanche Adler", February 8-April 21, 2002, no. 22, pp. 18, ill.
Katy Rothkopf, "Matisse, Picasso and the School of Paris", circulated to North Carolina Museum of Art, October 10, 2004-January 16, 2005.
Wilhelm Hack Museum, Berlin, "Against All Reason. Paris - Prague Surrealism", November 14 2009-February 14, 2010.
Vancouver Art Gallery, Dawn Ades curator, "The Colour of My Dreams: The Surrealist Revolution in Art", May 28-September 25, 2011, ill. pp. 84-85.
Museum Barberini, "Surrealism and Magic: From Max Ernst to Leonora Carrington", May 8, 2021-August 13, 2021, circulated to The Peggy Gugenheim Collection, Venice October 1, 2021-January 16, 2022.
Centre Pompidou-Metz, "Andre Masson. There is no finished world", March 30, 2024-September 2, 2024.
The Baltimore Museum of Art. "Modern Painting Isms and how They Grew", January 12-February 11, 1940.
The Baltimore Museum of Art, "The Saidie A. May Collection of Modern paintings and Sculpture", March 17-April 16, 1950, cat. 68.
Wadsworth Atheneum Museum of Art, Hartford, CT, "Impressionism to Surrealism from The Baltimore Museum of Art. Selections from the Collections of Claribel and Etta Cone, Saidie Adler May, and Blanche Adler", February 8-April 21, 2002, no. 22, pp. 18, ill.
Katy Rothkopf, "Matisse, Picasso and the School of Paris", circulated to North Carolina Museum of Art, October 10, 2004-January 16, 2005.
Wilhelm Hack Museum, Berlin, "Against All Reason. Paris - Prague Surrealism", November 14 2009-February 14, 2010.
Vancouver Art Gallery, Dawn Ades curator, "The Colour of My Dreams: The Surrealist Revolution in Art", May 28-September 25, 2011, ill. pp. 84-85.
Museum Barberini, "Surrealism and Magic: From Max Ernst to Leonora Carrington", May 8, 2021-August 13, 2021, circulated to The Peggy Gugenheim Collection, Venice October 1, 2021-January 16, 2022.
Centre Pompidou-Metz, "Andre Masson. There is no finished world", March 30, 2024-September 2, 2024.
The Baltimore Museum of Art News, “Catalogue of the Saidie A. May Collection of Modern Paintings and Sculpture,” March, 1950, cat. 68, p. 18.
William Rubin & Carolyn Lanchner, "Andre Masson," The Museum of Modern Art, New York, 1976, ill. p. 144.
Karoline Hille, "Ein Traum Wird Farbe: Reconstruction des Hauptraums der Internazionalen Surrealismus-Austellung 1938 in Paris," in Reinhard Speiler and Barbara Auer editors, exh. cat., "Gegen Jede Vernunft: Surrealismus Paris-Prag" (Ludwigshaffen Am Rhein: Wilhelmhack Museum, 2009), 206-209.
David Lomas, "Philosophy in a Painting: André Masson's Ophelia (1937)" in Dawn Ades ed., "The Colour of My Dreams: The Surrealist Revolution in Art," Vancouver: Vancouver Art Gallery, 2011, pp. 83-95.
David Lomas and Dawn Ades, "Narcissus Reflected", Edinburgh: The Fruitmarket Gallery, 2011, p. 138.
Susan Helen Adler, "Saidie May Pioneer of Early 20th Century Collecting", United States: Stonehouse Design, 2008, p. 183.
Greeley, Robin Adele, Samantha Kavky, Oliver Shell, and Oliver Tostmann. "Monsters & Myths: Surrealism and War in the 1930s and 1940s." New York, NY: Rizzoli Electa in association with The Baltimore Museum of Art and Wadsworth Atheneum Museum of Art, 2018, ill.
Subelytė, Gražina and Daniel Zamani (editors). Surrealism and Magic: Enchanted Modernity. Munich: Prestel, 2022. ill, pp. 176-77
