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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Max Ernst—Woman, Old Man, and Flower (Weib, Greis, und Blume). Max Ernst—
Two Sisters. Max Ernst—Birds above the Forest. Max Ernst—Nature at Daybreak.
Yves Tanguy—Mama, Papa Is Wounded. René Magritte—Souvenir de Voyage.
... always hold out a hand to the enemy.” Upon Rachilde's remark, Breton stood
up with great dignity and reminded Mme. Rachilde that the remark she had just
made was insulting to his friend Max Ernst, who had been invited to this dinner:*
Katherine S. Dreier Bequest. MAx ERNST. Nature at Daybreak. 1938. Oil on
canvas. Collection, The Museum of Modern Art, New York. Gift of Samuel A.
Berger. 1955. O SALVADoR DALI. Illustration (etching) for Les Chants de. MAx
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