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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Le Paysan de Paris and Breton's Nadja (oftened mistermed “novels") simply
relate a quest for reality and freedom in coincidence without any effort to
transpose the quotidian into fiction. Apollinaire's mysterious wanderings into
Texts by Hart Crane, E. E. Cummings, Wallace Stevens, and Gertrude Stein
alternated with those of the French poets and polemicists; there was far more
mixing in the pages of reviews than in the cafés and studios of Paris. For a
Created in Paris by some dozen men, it did not remain confined to France but
enlarged its scope to the ends of the earth. Far from being a small Parisian sect, it
had adepts and influenced men in England, Belgium, Spain, Switzerland, ...
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