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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Life never holds its savor. In the first view, everything has significance; the world
is filled and its parts held in place by connections. (Leonardo said he could
literally see them, “lines crossing and interweaving.") In the second view, nothing
-Georces RIBEMONT-DESSAIGNES V AcHé had not known Dada, was never to
know it. The publication, in 1919, of his Lettres de guerre does not even suggest
that he would have played any role in it, steeped as he was in the “theatrical and
... Jacques Baron, Michel Leiris, Raymond Queneau, J.-A. Boiffard, Robert
Desnos, Jacques Prévert; and one man who had never belonged to the group
but who had been particularly mauled by Breton: Georges Bataille. Pierre Naville,
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