The History of Surrealism
Belknap Press of Harvard University Press, 2000 - 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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The opening night of Apollinaire's Couleur du Temps, at the Conservatoire
Renée Maubel, while I was talking in the balcony with Picasso, a young man
came up to me, mumbled a few words, and finally blurted out that he had taken
me for one ...
—GUILLAUME APOLLINAIRE, (letter to Paul Dermée, March 1917) D" RING the
First World War, the young poets who were mobilized one after the other found
no answer in the poetry of the past to the questions they were beginning to ask.
T H E S U R R. E. A. L. Is T M A N IF E S TO When you're dry, Apollinaire used to
advise his friends, write anything, any sentence, and forge straight ahead. —
ANDRé BILLY, Apollinaire vivant. We have already discussed Breton's
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