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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The major experimental works like L'Immaculée Conception by Breton and
Éluard, the work of Robert Desnos, René Daumal, René Crevel, and Péret,
Aragon's exasperating Traité du Style, many remarkable films— too much has
Then, it appeared to them, thanks to a brief spiritualistic initiation by René Crevel,
that the hypnotic trance was capable, with even more guarantees, if possible, of
revealing in its purity and its integrity that vast dark continent whose marvels ...
Pierre Reverdy gave an answer which did not satisfy the investigators, obliged as
they were to appeal to the dead: Jacques Vaché, Rabbe, Benjamin Constant. Let
us nonetheless single out René Crevel's answer, which was not to be limited ...
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