Surrealism and PaintingOriginally published in 1928, Surrealism and Painting is the most important statement ever written on surrealist art, and the only book on the subject composed by the movement's founder and prime theorist. It contains Breton's seminal treatise on the origins and foundations of artistic surrealism, with his trenchant assessments of its precursors and practitioners, and his call for the plastic arts to "refer to a purely internal model." Also included are essays - on Picasso, Duchamp, Dali, Ernst, Masson, Miro, and many others, as well as pieces on Gaulish art, outsider art, and the folk arts of Haiti and Oceania. But what makes this book most compelling is Breton's mix of rigorous erudition and visceral passion, his sense of adventure, and his discoveries of many of Modernism's most prominent figures early in their careers. Long unavailable in English, Surrealism and Painting remains one of the masterworks of twentieth-century art criticism. |
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Pagina 143
... I never imagined that the world of fruits could encompass such a marvel as the pitahaya , whose coiled pulp is the ... whose skin is grey , and which tastes like a kiss blended of love and desire ; I had never held in my hand a lump ...
... I never imagined that the world of fruits could encompass such a marvel as the pitahaya , whose coiled pulp is the ... whose skin is grey , and which tastes like a kiss blended of love and desire ; I had never held in my hand a lump ...
Pagina 265
LE MARÉCHAL “ There were visions behind the gauze of the curtains ' : Rimbaud will never forgive de Musset for having been too indolent to know about them . Since then the world has turned , and if there is one feeling today that stands ...
LE MARÉCHAL “ There were visions behind the gauze of the curtains ' : Rimbaud will never forgive de Musset for having been too indolent to know about them . Since then the world has turned , and if there is one feeling today that stands ...
Pagina 305
Working in this fashion , he finds himself free from all initial hesitation and equally free from any afterthoughts , and is confident that he has never ' botched a painting ' . ' I work just as well at night as during the day ...
Working in this fashion , he finds himself free from all initial hesitation and equally free from any afterthoughts , and is confident that he has never ' botched a painting ' . ' I work just as well at night as during the day ...
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