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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5 This is a true revolution, Poetic first, because it denies poetry by transcending it.
The arrangement as a poem is banished in favor of the automatic text, the
dictation of the unconscious, the dream narrative. No concern for art, for beauty.
In addition Breton introduced the latest poetic productions of surrealism,2,
notably those of Gisele Prassinos, a girl of fourteen who according to the strict
methods of automatic writing combined with a constant felicity the most
preposterous and ...
refuse, on the other hand, to take into consideration the opinions of Jules
Romains and of Romain Rolland. I do not believe, however, that the periodical
Europe, for reasons which derive purely from Romain's poetic technique ( which
in itself is ...
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foreword Maurice Nadeau
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