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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At least this insistence had produced a clearly defined position: active sympathy
for the proletarian Revolution, obedience to its orders when the moment came; “
meanwhile,” on the level of the mind, continuation of the habitual activity of.
On the excuse that his last novel won him several threatening letters, he
complains in L'Humanité of September 1 and 9 of the aridity of his task, of the
difficulties of his relations with the proletarian public, “the only public whose
... like anger red like blood You avenge Babeuf and Liebknecht Proletarians of
the world unite Voices Call them Prepare ... these liberators who will join with
yours their Proletarian weapons of every country Here is the catastrophe tamed
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