Plate VIII from Let There Be Fashion, Down With Art (Fiat modes pereat ars)

Plate VIII from Let There Be Fashion, Down With Art (Fiat modes pereat ars) is a defining lithograph created by Max Ernst in 1920. This print is one of eight highly satirical works composing the portfolio, which stands as a key example of the artist's foundational engagement with the Dada movement. Produced shortly after the Great War, the series reflects the nihilistic and anti-rational spirit prevalent in the French cultural sphere of the 1920s. The portfolio’s defiant title, which translates roughly to "Let there be fashion, down with art," signals Ernst’s cynical critique of contemporary Parisian culture, where commercialism and fleeting trends were seen to eclipse genuine artistic innovation.

The choice of lithography as a medium allowed the artist to rapidly disseminate his visually unsettling and often jarring imagery. Ernst, along with peers like Francis Picabia, utilized prints extensively to articulate Dada's rejection of traditional aesthetics and institutionalized art. While specific imagery for Plate VIII is not detailed, the entire suite features striking combinations of mechanistic, biomorphic, and found imagery, characteristic of Ernst’s developing visual vocabulary. The German-born French artist often employed techniques of collage and juxtaposition to create uncanny scenarios, directly challenging the viewer’s perception of reality and logic. This work captures the transitional moment when the aggression of Dada began softening into the more psychologically complex forms of Surrealism.

The complete portfolio, including this individual print, is recognized internationally as a critical record of early twentieth-century avant-garde activity and is housed within the permanent collection of the Museum of Modern Art (MoMA). As a historic item from the pivotal 1920 period, the widespread availability of high-resolution prints and documentation ensures that this work is frequently studied by scholars examining the complex intersections of art and social critique in post-war Europe. Works by major European artists from this era frequently enter the public domain, securing their ongoing accessibility and historical relevance.