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 way was thus open to the notion of “surrealist objects.” What is a surrealist
object? One might say roughly that it is any alienated object, one out of its
habitual context, used for purposes different from those for which it was intended,
The technique of collage itself, practiced by Max Ernst, Georges Hugnet, already
signified a victorious explosion of the object into realms where it was not
expected, an effraction of consciousness even in the dark domain of the
Lecture on love, by Péret (with presentation of the loved object). On objective
chance as the pivot of the surrealist conception of life, by Breton. This discussion
will be followed by the reconstruction of several phenomena of objective chance
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