American artist Dorothea Tanning, prominent member of the Surrealist movement, passed away peacefully at her home in New York City at the age of 101 on January 31st.

A late addition to the Surrealist movement, Tanning had outlived all of her contemporaries.  She was well known for her fantastical paintings that trawled the depths of the human subconscious, such as “Birthday” from 1942 and “Maternity” from 1946. 

Perhaps the best example of her dream-like artworks would be, “Eine Kleine Nachtmusik” from 1943, though it might be more akin to a nightmare.  Ironically named after Mozart’s jaunty serenade, the image shows the darkened interior of a run down hotel.  The hallway has multiple doors, which seem to stretch into infinity, not an uncommon motif in Tanning’s work from the 1940s.  Two girls are depicted, one whose hair stands on end, seemingly electrified, stands in the middle of the hall.  The other leans against a wall with her eyes closed, wearing an outfit that is reminiscent of the breast-baring costume which Tanning wears in “Birthday.”  A giant, animated sunflower looms menacingly at the top of some steps, while the door to the far right cracks open letting out a shaft of light.   The effect of the image, like most of Tanning’s work, is mysterious and titillating to the imagination.

Dorothea Tanning, born and raised in Galesburg, Illinois, had what might be called a conventional middle-class upbringing. Early on, to the dismay of her parents, she showed an interest in becoming an artist and an inclination toward the bohemian lifestyle.

Tanning eventually left her studies at Knox College in favor of hanging out at the Chicago Art Institute.  However, it was once Tanning had moved to New York City that the course of her life made a pivotal turn.

In 1936, the then 26-year-old Tanning saw the exhibit “Fantastic Art, Dada, Surrealism,” mounted by the Museum of Modern Art.  So inspired was Tanning by what she saw there, she made plans to join the Surrealists in Paris, something that didn’t’ happen until 1939.  By that time, most had fled to the United States as Europe was on the brink of World War II; four weeks later Hitler would start his march. 

Tanning returned to the United States where she supported herself as a commercial artist and was briefly married to Homer Shannon.  In 1941, prominent gallery owner Julien Levy offered to show her work and Tanning at last made contact with the Surrealists she had attempted to meet years before.

She became the fourth wife of Max Ernst in a double wedding with fellow Surrealist Man Ray and Juliet Browner in 1946 in California.  Ernst, a core member of the Surrealist movement, and Tanning would spend some time in Sedona before eventually moving back to France, where they would remain together until his death in 1976.

In a 2002 interview with John Glassie, when asked if she could change anything in her life, what would that be, Tanning replied, “More color in my dreams.” 

In life, Tanning’s work provided ample color.  Beginning in the 1950s, Tanning's aesthetic switched from more naturalistic and muted renderings, to the construction of  biomorphic images that frequently employed acid tones.  She initially referred to these nearly abstract works as her “prism” paintings, and later as “Insomnias.” 

Tanning also created installation art, sculpture and prints during the course of her career.  Towards the end of her life she focused on writing, both poetry and prose. 

Dorothea Tanning did not remarry after the death of Ernst and had no children; she is survived by three nieces and a nephew.

Her artwork is currently part of an exhibit on display at the Los Angeles County Museum of Art entitled “In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States.”

(Report: Christine Bolli for ARTFIXdaily)