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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Whether M. Barbusse likes it or not, sentimental stupidity has served its term.
Aside from any literary “department,” the only stories that we accept, that we
acknowledge, are those L'Humanité gives us about the revolutionary situation
when it ...
They are, he says “innovators,” and of course no one would dream of saying as
much of Monsieur Barbusse, the celebrated old bore. Let it pass that Jules
Supervielle and Luc Durtain seem to him to represent, most validly and
It is impossible to do a worse job in passing (and I mean in passing) than M.
Barbusse. We have always declared and still maintain that the emancipation of
style, to a certain degree possible in bourgeois society, cannot consist in a
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