Craig Morgan Teicher | The Paris Review | 1st October 2020
Art history’s coverage of Tanning is rather one dimensional. Recognition came more from her marriage to Max Ernst than her own “almost photo-realistic” surrealism. Beyond that, not much is said. In fact, she left surrealism behind. Her later works were “unprecedented creations as much about the paint itself as about what she painted. [She] accomplishes everything the abstract expressionists set out to do.” A recent biography is covered here.