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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Poets of the past have been inspired from time to time, and that is what
constitutes the value of their productions; today's poet is not only inspired
continually, but from object becomes subject: he becomes the one “who inspires.”
He is no longer ...
... inspired intuitions, Marx and Freud figured as the prophets of the new age.
According to their particular modalities, the surrealists became Marxists and
Freudians, putting the accent on the double evolution to be effected: “to transform
... where, as always, the inhabitants of Charleville go on Thursdays to listen to the
band play marches; and it was the band that, at the monument's inauguration,
played the adaptation of Emile Ratez's symphony, inspired by Le Bateau Ivre.
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