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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Yet it is high time we perceive the remarkably clear line that connects the impish
figure of Alfred Jarry in 1896, calmly saying merdre (shite) to bourgeois culture,
with Albert Camus, the impassioned humanist who wanted to bring all the black ...
None do so better than Alfred Jarry, Arthur Rimbaud, Isidore Ducasse, Comte de
Lautréamont. All three, for different reasons but with the same desperate
enthusiasm, identified their lives with that of poetry, bringing it down from the
He is the prototype of a class of tyrants and parasites the extent of whose
misdeeds Jarry, dead too soon, was unable to contemplate. The answer to Père
Ubu is Docteur Faustroll, savant pataphysicien, imperturbable logician, carrying
to their ...
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