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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To conclude this splendid chaos, p. were shown, among them one by Picabia,
scandalous om a plastic point of view, with the same title as several other
paintings and manifestos by Picabia of this same period: LHOOQ.” The tone was
This more effective battle, moreover, was waged by the original members of the
Littérature group, and by others like Picabia who broke with Dada when they
observed that it merely replaced the impasse of official art by the dead end of
Editor: Arthur Cravan. Published irregularly during 1913, 1914, 1915. Sic. Editor:
P. Albert-Birot. No. 1: January 1916; No. 54 (last): December 30, 1919. Nord-Sud.
Editor: Pierre Reverdy. 1917. 391. Editor: Francis Picabia. 1920–21. Proverbe.
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