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 dictation of thought, in the absence of all control by the reason, excluding
any esthetic or moral preoccupation. Philos. Encycl. Surrealism rests on the belief
in the higher reality of certain hitherto neglected forms of association, in the ...
“I do not believe that the dream is precisely the contrary of thought. What I know
of it inclines me to think that it is merely a freer, more abandoned form of thought.
Dreams and thought are the two sides of the same material, dreams constituting ...
De we not find at the very basis of its affirmation a hidden vice: the postulation
that it is enough for thought to exist in order to become immediately operative,
and for any task? If poetry, which was to be freed of its artistic fetters, which was
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