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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Was it the fate of literature to afford a Reverdy. Apollinaire was also annexed. It
opened with a Manifeste du surréalisme, from which we isolate the following
definition: “The transposition of reality to a higher (artistic) level constitutes
Literature, art have always been the refuge of rebels, all too often impotent to free
themselves except in words and colors. Now it seemed, inevitably, that all these “
individualities” did not produce the same crystalline sound when struck.
The entire work, moreover, is an attack against the vulgar, against those who
reduce to their own tiny measure the ideas they transform into clichés, into
banalities—in other words, against those who produce literature. In the second
part of his ...
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