The History of Surrealism
Belknap Press of Harvard University Press, 1989 - 351 pagina's
"I believe," André Breton said, "in the future resolution of the states of dream and reality--in appearance so contradictory--in a sort of absolute reality, or surréalité." The Surrealist movement, born in the 1920s out of the ferment of Dada, committed to revolution against bourgeois rationalism, and inspired by Freudian exploration of the unconscious, has reverberated more widely and deeply than perhaps any other art movement in our century. Its automatism, biomorphic shapes, visionary mode, and manipulation of found objects mark the work of artists as different as Ernst, Miró, Magritte, and Dali.
Maurice Nadeau's History of Surrealism, first published in French in 1944 and in English in 1965, has become a classic. It is both lucid and authoritative--by far the best overall account of this complex movement. Nadeau traces the evolution of Surrealism, bringing to life its many internal debates about politics and art. He relates the movement to its intellectual and artistic environment. And he provides the statements and manifestos of Breton, Aragon, Tzara, and others.
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There were, of course, living men in France: Apollinaire (who, having requested
front-line service, was now with them, but in a somewhat different frame of mind),
Picasso whom they revered, Henri Matisse, Marie Laurencin, Max Jacob, the ...
Still, the letters he sent to his friends, and which everyone may now read, go far in
the direction of the task Dada has assigned itself: We care for neither art nor
artists (down with Apollinaire) . . . we ignore Mallarme, without hatred, but he's
THE SURREALIST MANIFESTO When you're dry, Apollinaire used to advise his
friends, write anything, any sentence, and forge straight ahead. — andre billy,
Apollinaire vivant. We have already discussed Breton's generating ideas closely
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LIST OF ILLUSTRATIONS
foreword Maurice Nadeau
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