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 18
That will be the scene that is revealed to Picabia . ... the preoccupations that emerge in the picture it designates and that Chirico , the insulter of his own youth , is now attempting to reveal to us in the language of the gutter .
That will be the scene that is revealed to Picabia . ... the preoccupations that emerge in the picture it designates and that Chirico , the insulter of his own youth , is now attempting to reveal to us in the language of the gutter .
Pagina 98
At the place ( still ascending ) where this eroticism is revealed ( which should be one of the principal cogs in the Bachelor Machine ) this tormented gearing gives birth to the desire - part of the machine .
At the place ( still ascending ) where this eroticism is revealed ( which should be one of the principal cogs in the Bachelor Machine ) this tormented gearing gives birth to the desire - part of the machine .
Pagina 115
It would be wholly erroneous to suppose for one moment that the extreme variations in Picasso's interpretation of the female face reveal any obsessive interest on his part . The truth is that woman here is considered not as a subject ...
It would be wholly erroneous to suppose for one moment that the extreme variations in Picasso's interpretation of the female face reveal any obsessive interest on his part . The truth is that woman here is considered not as a subject ...
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