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 fact still remains that, thanks to Dada, surrealism in its early days rejected the
literary, poetic, or plastic solution. Dada had dealt art so powerful a blow that it
was not to recover for several years. The surrealists' ambition was not to build a ...
between the level of mind and that of facts: the surrealist Robert Desnos was
unwilling to become a communist, the communist Aragon could no longer be a
surrealist. If the two paths were parallel, they could no longer intersect.
This offence in which the consent of both parties is involved but the responsibility
of only one, is further complicated by the fact that nothing can humanly prove the
victim's share of initiative or provocation. But in this case, the innocent party had ...
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