”The strongest illusion of a parallel world in Ernst’s work came from the collage-novels he began to create around 1930…He used Victorian steel engravings, which he cut and reassembled with fanatical precision…sinister, disturbing and marvellous in their unrelenting power of suggestion; the peculiarity of Ernst’s world never lets up or lapses into cliche…His collage-novels were, like pornography, a means of revenge on childhood repression. Their raw material, the late Victorian world of padded bourgeois interiors, heavy fringes, and dark massive furniture, hourglass girls, impassive technicians, and fiercely authoritarian men in boilerplate suits, looks like another civilisation to us. But it was the world in which Max Ernst grew up, and to subvert it was, for him, akin to an act of terrorism - the irrational attacking the domain of ordered structures.”
- The Shock Of The New, Robert Hughes

”The strongest illusion of a parallel world in Ernst’s work came from the collage-novels he began to create around 1930…He used Victorian steel engravings, which he cut and reassembled with fanatical precision…sinister, disturbing and marvellous in their unrelenting power of suggestion; the peculiarity of Ernst’s world never lets up or lapses into cliche…His collage-novels were, like pornography, a means of revenge on childhood repression. Their raw material, the late Victorian world of padded bourgeois interiors, heavy fringes, and dark massive furniture, hourglass girls, impassive technicians, and fiercely authoritarian men in boilerplate suits, looks like another civilisation to us. But it was the world in which Max Ernst grew up, and to subvert it was, for him, akin to an act of terrorism - the irrational attacking the domain of ordered structures.”

- The Shock Of The New, Robert Hughes