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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confirmed sleeper who wins every night, in his dreams, the treasure that he will
dissipate by day in small change. Man was not only a prisoner of nature, and of
his triumphs over nature, but of himself; he had wrapped his mind with mummy ...
The results obtained by automatic writing, by the account of dreams, for instance,
are represented here, but no result of research, experiments, or works is as yet
published: we have everything to expect from the future. A prejace signed by J.-A.
Let us say only that for Dali, automatism and the dream itself are passive states,
especially when they are isolated from the external world in which they should
function freely; they become refuges, "idealistic evasions," whereas paranoia is a
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foreword Maurice Nadeau
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