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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He tells his wife that the woman he loves is “wonderful,” that he would be glad to
introduce her to his wife, etc. This frankness, this honesty, all that is most
admirable in the world, is now used against him. But the chief argument is a pair
1931 FREE UNION M Y w I FE with her wood-fire hair With her thoughts of
heatsparks With her hour-glass figure My wife with her figure of an otter between
the tiger's teeth My wife with her cockade mouth, her mouth a bouquet of final
My wife with initial feet With feet of bunches of keys with feet of drinking caulkers
My wife with a neck of pearled barley My wife with her Val d'or throat Of the
rendezvous in the very bed of the stream With night breasts My wife with breasts
of a ...
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