The Hat Makes the Man
(French and American, born Germany. 1891–1976)
1920. Gouache, pencil, oil, and ink on cut-and-pasted printed paper on paper, 13 7/8 x 17 3/4" (35.2 x 45.1 cm)
To make The Hat Makes the Man, Max Ernst cut, pasted, and stacked images of men’s hats clipped from a sales catalog. The suggestively phallic towers and tongue-in-cheek title inscribed on the work, “C’est le chapeau qui fait l’homme” (“The hat makes the man”) were likely inspired by Sigmund Freud’s book The Joke and It’s Relation to the Unconscious (1905), in which the famed psychoanalyst identified the hat—a requisite accessory for bourgeois men—as a symbol for repressed desire. The visual pun adds a new, bawdy spin to the cliché.
In this work and many others, Ernst clipped illustrations from advertisements or articles, arranged them partially by chance, and then drew or painted around his absurd configurations. “These changes,” Ernst recalled, were “reproductions of what was within me, recorded a faithful and fixed image of my hallucination. They transformed the banal pages of advertisement into dramas that revealed my most secret desires.”1
A form, sign, or emblem that represents something else, often something immaterial, such as an idea or emotion.
In popular writing about psychology, the division of the mind containing the sum of all thoughts, memories, impulses, desires, feelings, etc., that are not subject to a person’s perception or control but that often affect conscious thoughts and behavior (noun). The Surrealists derived much inspiration from psychoanalyst Sigmund Freud’s theories on dreams and the workings of the subconscious mind.
A person whose political, economic, and social values are believed to be determined mainly by concern for material wealth and conventional respectability (noun). Characteristic of those persons (adjective; often used synonymously with "middle-class").