Hypertrophic Trophy (hypertrophie trophäe, trophée hypertrophique)

Hypertrophic Trophy (hypertrophie trophäe, trophée hypertrophique) by Max Ernst, executed in 1920, is a pivotal example of early Dada graphic work. Classified as a drawing and realized using a line block print with ink on paper, the work showcases the artist’s early commitment to exploring mechanical and biomorphic forms through industrialized reproduction techniques. This medium was frequently embraced by the French avant-garde, as it allowed for rapid creation and widespread distribution of images that aimed to challenge conventional artistic and societal norms in the immediate aftermath of World War I.

The subject matter presents an unsettling, composite structure that defies simple identification. Rather than depicting a traditional, idealized monument, Ernst constructs a grotesque amalgamation of machine-like components and exaggerated organic growth, embodying the profound cynicism and disillusionment central to the Dada movement. The very title suggests a satire on victory and achievement, replacing the idealized symbol of triumph with something swollen, absurd, and monstrously overgrown—hence the term "hypertrophic." Ernst’s reliance on the sharp, precise lines inherent to the line block printing process emphasizes the clinical and cold absurdity of the constructed image.

The composition reveals the artist’s foundational interest in collage principles translated into graphic form. As a key work created during a period of intense intellectual ferment, this print demonstrates the versatility of the artist and his decisive shift towards psychological and proto-Surrealist imagery. This 1920 piece helped establish Ernst as a major figure in the emerging visual culture of the decade. The prevalence of such reproducible prints facilitated their enduring influence, with many becoming available through collections accessible for public domain use today. The original work is preserved in the comprehensive collection of the Museum of Modern Art (MoMA), recognizing its importance to the history of French graphic art.