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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To conclude this splendid chaos, paintings were shown, among them one by
Picabia, scandalous from a plastic point of view, with the same title as several
other paintings and manifestos by Picabia of this same period: LHOOQ.4 The
tone was ...
Attacks against men: "If you read Andre Gide aloud for ten minutes, your mouth
will smell bad" (Picabia, in Paul ... attacks against sacrosanct works by painters of
the past: Picabia's magazine 391 appears with a cover by Duchamp showing the
Jeu; P. de Massot, a former Dadaist and tutor to Picabia's children; and Picabia
himself. The others were invited to a session which was to be held "Monday,
March 11 at 8:30 sharp, at the Bar du Chateau, 53 Rue du Chateau, at the corner
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LIST OF ILLUSTRATIONS
foreword Maurice Nadeau
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