Source: Wikipedia, the free encyclopedia.
(Redirected from
The Treachery of Images, by René Magritte (1929)
The Treachery of Images, by René Magritte (1929), featuring the declaration "Ceci n'est pas une pipe" ("This is not a pipe")
Years active1920s–1950s
CountryFrance, Belgium
Major figuresBreton, Dalí, Ernst, Magritte

Surrealism is a cultural movement that developed in Europe in the aftermath of World War I in which artists depicted unnerving, illogical scenes and developed techniques to allow the unconscious mind to express itself.[1] Its aim was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality.[2][3][4] It produced works of painting, writing, theatre, filmmaking, photography, and other media.

Works of Surrealism feature the

element of surprise, unexpected juxtapositions and non sequitur. However, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost (for instance, of the "pure psychic automatism" Breton speaks of in the first Surrealist Manifesto), with the works themselves being secondary, i.e., artifacts of surrealist experimentation.[5] Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. At the time, the movement was associated with political causes such as communism and anarchism. It was influenced by the Dada movement of the 1910s.[6]

The term "Surrealism" originated with Guillaume Apollinaire in 1917.[7][8] However, the Surrealist movement was not officially established until after October 1924, when the Surrealist Manifesto published by French poet and critic André Breton succeeded in claiming the term for his group over a rival faction led by Yvan Goll, who had published his own surrealist manifesto two weeks prior.[9] The most important center of the movement was Paris, France. From the 1920s onward, the movement spread around the globe, impacting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

Founding of the movement

Max Ernst, The Elephant Celebes, 1921

The word 'surrealism' was first coined in March 1917 by Guillaume Apollinaire.[10] He wrote in a letter to Paul Dermée: "All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used" [Tout bien examiné, je crois en effet qu'il vaut mieux adopter surréalisme que surnaturalisme que j'avais d'abord employé].[11]

Apollinaire used the term in his program notes for Sergei Diaghilev's Ballets Russes, Parade, which premiered 18 May 1917. Parade had a one-act scenario by Jean Cocteau and was performed with music by Erik Satie. Cocteau described the ballet as "realistic". Apollinaire went further, describing Parade as "surrealistic":[12]

This new alliance—I say new, because until now scenery and costumes were linked only by factitious bonds—has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. (Apollinaire, 1917)[13]

The term was taken up again by Apollinaire, both as subtitle and in the preface to his play Les Mamelles de Tirésias: Drame surréaliste,[14] which was written in 1903 and first performed in 1917.[15]

bourgeois values had brought the conflict of the war upon the world. The Dadaists protested with anti-art
gatherings, performances, writings and art works. After the war, when they returned to Paris, the Dada activities continued.

During the war,

pataphysics founder Alfred Jarry. He admired the young writer's anti-social attitude and disdain for established artistic tradition. Later Breton wrote, "In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most."[16]

Back in Paris, Breton joined in Dada activities and started the literary journal

The Magnetic Fields

By October 1924 two rival Surrealist groups had formed to publish a

Cover of the first issue of La Révolution surréaliste
, December 1924

As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the

Marxist dialectic and the work of such theorists as Walter Benjamin and Herbert Marcuse.[citation needed

Freud's work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness. As Dalí later proclaimed, "There is only one difference between a madman and me. I am not mad."[18]

Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects."[21] Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet Pierre Reverdy, which said: "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power and poetic reality."[22]

The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to free people from false rationality, and restrictive customs and structures. Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!" To this goal, at various times Surrealists aligned with communism and anarchism.

In 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established and began publishing the journal La Révolution surréaliste.

Surrealist Manifestos

Yvan Goll, Surréalisme, Manifeste du surréalisme,[23] Volume 1, Number 1, October 1, 1924, cover by Robert Delaunay

Leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Apollinaire. One group, led by Yvan Goll, consisted of Pierre Albert-Birot, Paul Dermée, Céline Arnauld, Francis Picabia, Tristan Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Arland, Joseph Delteil, Jean Painlevé and Robert Delaunay, among others.[24]

The other group, led by Breton, included Aragon, Desnos, Éluard, Baron, Crevel, Malkine, Jacques-André Boiffard and Jean Carrive, among others.[25]

Yvan Goll published the Manifeste du surréalisme, 1 October 1924, in his first and only issue of Surréalisme[23] two weeks prior to the release of Breton's Manifeste du surréalisme, published by Éditions du Sagittaire, 15 October 1924.

Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées,[24] over the rights to the term Surrealism. In the end, Breton won the battle through tactical and numerical superiority.[26][27] Though the quarrel over the anteriority of Surrealism concluded with the victory of Breton, the history of surrealism from that moment would remain marked by fractures, resignations, and resounding excommunications, with each surrealist having their own view of the issue and goals, and accepting more or less the definitions laid out by André Breton.[28][29]

Breton's 1924 Surrealist Manifesto defines the purposes of Surrealism. He included citations of the influences on Surrealism, examples of Surrealist works, and discussion of Surrealist automatism. He provided the following definitions:

Dictionary: Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.

Encyclopedia: Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.[4]


Giacometti's Woman with Her Throat Cut, 1932 (cast 1949), Museum of Modern Art, New York City

The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games, discussed the theories of Surrealism, and developed a variety of techniques such as automatic drawing. Breton initially doubted that visual arts could even be useful in the Surrealist movement since they appeared to be less malleable and open to chance and automatism. This caution was overcome by the discovery of such techniques as frottage, grattage[30] and decalcomania.

Soon more visual artists became involved, including Giorgio de Chirico, Max Ernst, Joan Miró, Francis Picabia, Yves Tanguy, Salvador Dalí, Luis Buñuel, Alberto Giacometti, Valentine Hugo, Méret Oppenheim, Toyen, Kansuke Yamamoto and later after the second war: Enrico Donati, Vinicius Pradella and Denis Fabbri. Though Breton admired Pablo Picasso and Marcel Duchamp and courted them to join the movement, they remained peripheral.[31] More writers also joined, including former Dadaist Tristan Tzara, René Char, and Georges Sadoul.

André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 × 20.6 cm. Museum of Modern Art
, New York.

In 1925 an autonomous Surrealist group formed in Brussels. The group included the musician, poet, and artist E. L. T. Mesens, painter and writer René Magritte, Paul Nougé, Marcel Lecomte, and André Souris. In 1927 they were joined by the writer Louis Scutenaire. They corresponded regularly with the Paris group, and in 1927 both Goemans and Magritte moved to Paris and frequented Breton's circle.[19] The artists, with their roots in Dada and Cubism, the abstraction of Wassily Kandinsky, Expressionism, and Post-Impressionism, also reached to older "bloodlines" or proto-surrealists such as Hieronymus Bosch, and the so-called primitive and naive arts.

André Masson's automatic drawings of 1923 are often used as the point of the acceptance of visual arts and the break from Dada, since they reflect the influence of the idea of the unconscious mind. Another example is Giacometti's 1925 Torso, which marked his movement to simplified forms and inspiration from preclassical sculpture.

However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen)[32] with The Kiss (Le Baiser)[33] from 1927 by Max Ernst.[clarify] The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly.[improper synthesis?] In the second the influence of Miró and the drawing style of Picasso is visible with the use of fluid curving and intersecting lines and colour, whereas the first takes a directness that would later be influential in movements such as Pop art.

Giorgio de Chirico, The Red Tower (La Tour Rouge), 1913, Guggenheim Museum

Giorgio de Chirico, and his previous development of

metaphysical art, was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between 1911 and 1917, he adopted an unornamented depictional style whose surface would be adopted by others later. The Red Tower (La tour rouge) from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His 1914 The Nostalgia of the Poet (La Nostalgie du poète)[34] has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief defies conventional explanation. He was also a writer whose novel Hebdomeros presents a series of dreamscapes with an unusual use of punctuation, syntax, and grammar designed to create an atmosphere and frame its images. His images, including set designs for the Ballets Russes
, would create a decorative form of Surrealism, and he would be an influence on the two artists who would be even more closely associated with Surrealism in the public mind: Dalí and Magritte. He would, however, leave the Surrealist group in 1928.

In 1924, Miró and Masson applied Surrealism to painting. The first Surrealist exhibition, La Peinture Surrealiste, was held at Galerie Pierre in Paris in 1925. It displayed works by Masson, Man Ray, Paul Klee, Miró, and others. The show confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), and techniques from Dada, such as photomontage, were used. The following year, on March 26, 1926, Galerie Surréaliste opened with an exhibition by Man Ray. Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s.

Surrealist literature

World War II created havoc not only for the general population of Europe but especially for the European artists and writers that opposed Fascism and Nazism. Many important artists fled to North America and relative safety in the United States. The art community in

Pop Art
, Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism.

The Second World War overshadowed, for a time, almost all intellectual and artistic production. In 1939 Wolfgang Paalen was the first to leave Paris for the New World as exile. After a long trip through the forests of British Columbia, he settled in Mexico and founded his influential art-magazine

Futurism and Cubism
, to Surrealism. Wolfgang Paalen left the group in 1942 due to political/philosophical differences with Breton.

The Conspirators by Colin Middleton (1942), the Irish Surrealist's response to the Belfast Blitz

Though the war proved disruptive for Surrealism, the works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. While Dalí may have been excommunicated by Breton, he neither abandoned his themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive pompier. His classic period did not represent so sharp a break with the past as some descriptions of his work might portray, and some, such as André Thirion, argued that there were works of his after this period that continued to have some relevance for the movement. When the war reached Ireland with the Belfast Blitz in May 1941, Colin Middleton, who had experimented with surrealist themes in the 1930s, responded with a series of dark works reflecting the shocked state of the people of the city. These were exhibited at the Belfast Municipal Gallery and Museum after its restoration in 1943, following near destruction in the blitz.[72]

During the 1940s Surrealism's influence was also felt in England, America and the Netherlands where Gertrude Pape and her husband Theo van Baaren helped to popularize it in their publication The Clean Handkerchief.[73] Mark Rothko took an interest in biomorphic figures, and in England Henry Moore, Lucian Freud, Francis Bacon and Paul Nash used or experimented with Surrealist techniques. However, Conroy Maddox, one of the first British Surrealists whose work in this genre dated from 1935, remained within the movement, and organized an exhibition of current Surrealist work in 1978 in response to an earlier show which infuriated him because it did not properly represent Surrealism. Maddox's exhibition, titled Surrealism Unlimited, was held in Paris and attracted international attention. He held his last one-man show in 2002, and died three years later. Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in 1951's Personal Values (Les Valeurs Personnelles)[74] and 1954's Empire of Light (L’Empire des lumières).[75] Magritte continued to produce works which have entered artistic vocabulary, such as Castle in the Pyrenees (Le Château des Pyrénées),[76] which refers back to Voix from 1931, in its suspension over a landscape.

Other figures from the Surrealist movement were expelled. Several of these artists, like Roberto Matta (by his own description) "remained close to Surrealism".[31] Frida Kahlo should be mentioned. She had a New York solo exhibition in 1938 with 25 paintings, encouraged by Breton himself.

After the crushing of the Hungarian Revolution of 1956, Endre Rozsda returned to Paris to continue creating his own word that had been transcended the surrealism. The preface to his first exhibition in the Furstenberg Gallery (1957) was written by Breton yet.[77]

Many new artists explicitly took up the Surrealist banner. Dorothea Tanning and Louise Bourgeois continued to work, for example, with Tanning's Rainy Day Canape from 1970. Duchamp continued to produce sculpture in secret including an installation with the realistic depiction of a woman viewable only through a peephole.

Breton continued to write and espouse the importance of liberating the human mind, as with the publication The Tower of Light in 1952. Breton's return to France after the War, began a new phase of Surrealist activity in Paris, and his critiques of rationalism and dualism found a new audience. Breton insisted that Surrealism was an ongoing revolt against the reduction of humanity to market relationships, religious gestures and misery and to espouse the importance of liberating the human mind.

Major exhibitions of the 1940s, '50s and '60s

  • 1942 – First Papers of Surrealism – New York – The Surrealists again called on Duchamp to design an exhibition. This time he wove a 3-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works.[78] He made a secret arrangement with an associate's son to bring his friends to the opening of the show, so that when the finely dressed patrons arrived, they found a dozen children in athletic clothes kicking and passing balls and skipping rope. His design for the show's catalog included "found", rather than posed, photographs of the artists.[31]
  • 1947 – International Surrealist Exhibition – Galerie Maeght, Paris[79]
  • 1959 – International Surrealist Exhibition – Paris
  • 1960 – Surrealist Intrusion in the Enchanters' Domain – New York

Post-Breton Surrealism

In the 1960s, the artists and writers associated with the

The events of May 1968 in France included a number of Surrealist ideas, and among the slogans the students spray-painted on the walls of the Sorbonne were familiar Surrealist ones. Joan Miró would commemorate this in a painting titled May 1968. There were also groups who associated with both currents and were more attached to Surrealism, such as the Revolutionary Surrealist Group

During the 1980s, behind the

regime and painted Surrealist graffiti on spots covering up anti-regime slogans. Major himself was the author of a "Manifesto of Socialist Surrealism". In this manifesto, he stated that the socialist (communist) system had become so Surrealistic that it could be seen as an expression of art itself.

Surrealistic art also remains popular with museum patrons. The

Centre Georges Pompidou
in Paris a show called La Révolution surréaliste.

Surrealist groups and literary publications have continued to be active up to the present day, with groups such as the Chicago Surrealist Group, the Leeds Surrealist Group, and the Surrealist Group of Stockholm. Jan Švankmajer of the Czech-Slovak Surrealists continues to make films and experiment with objects.

Impact and influences

While Surrealism is typically associated with the arts, it has impacted many other fields. In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.[80] In addition to Surrealist theory being grounded in the ideas of Hegel, Marx and Freud, to its advocates its inherent dynamic is dialectical thought.[81] Surrealist artists have also cited the alchemists, Dante, Hieronymus Bosch,[82][83] the Marquis de Sade,[82] Charles Fourier, Comte de Lautréamont and Arthur Rimbaud as influences.[84][85]

May 68

Surrealists believe that non-Western cultures also provide a continued source of inspiration for Surrealist activity because some may induce a better balance between instrumental reason and imagination in flight than Western culture.

The Situationists and Enragés[88] from the originally Marxist “Rêvé-lutionary“ theory and praxis of Breton's French Surrealist group.[89]

Postmodernism and popular culture

Many significant literary movements in the later half of the 20th century were directly or indirectly influenced by Surrealism. This period is known as the

Postmodern era; though there is no widely agreed upon central definition of Postmodernism
, many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism.

First Papers of Surrealism presented the fathers of surrealism in an exhibition that represented the leading monumental step of the avant-gardes towards installation art.[90] Many writers from and associated with the Beat Generation were influenced greatly by Surrealists. Philip Lamantia[91] and Ted Joans[92] are often categorized as both Beat and Surrealist writers. Many other Beat writers show significant evidence of Surrealist influence. A few examples include Bob Kaufman,[93][94] Gregory Corso,[95] Allen Ginsberg,[96] and Lawrence Ferlinghetti.[97] Artaud in particular was very influential to many of the Beats, but especially Ginsberg and Carl Solomon.[98] Ginsberg cites Artaud's "Van Gogh – The Man Suicided by Society" as a direct influence on "Howl",[99] along with Apollinaire's "Zone",[100] García Lorca's "Ode to Walt Whitman",[101] and Schwitters' "Priimiititiii".[102] The structure of Breton's "Free Union" had a significant influence on Ginsberg's "Kaddish".[103] In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie.[104]

William S. Burroughs, a core member of the Beat Generation and a postmodern novelist, developed the cut-up technique with former surrealist Brion Gysin—in which chance is used to dictate the composition of a text from words cut out of other sources—referring to it as the "Surrealist Lark" and recognizing its debt to the techniques of Tristan Tzara.[105]

Postmodern novelist Thomas Pynchon, who was also influenced by Beat fiction, experimented since the 1960s with the surrealist idea of startling juxtapositions; commenting on the "necessity of managing this procedure with some degree of care and skill", he added that "any old combination of details will not do. Spike Jones Jr., whose father's orchestral recordings had a deep and indelible effect on me as a child, said once in an interview, 'One of the things that people don't realize about Dad's kind of music is, when you replace a C-sharp with a gunshot, it has to be a C-sharp gunshot or it sounds awful.'"[21]

Many other postmodern fiction writers have been directly influenced by Surrealism. Paul Auster, for example, has translated Surrealist poetry and said the Surrealists were "a real discovery" for him.[106] Salman Rushdie, when called a Magical Realist, said he saw his work instead "allied to surrealism".[107][108] David Lynch regarded as a surrealist filmmaker being quoted, "David Lynch has once again risen to the spotlight as a champion of surrealism,"[109] in regard to his show Twin Peaks. For the work of other postmodernists, such as Donald Barthelme[110] and Robert Coover,[111] a broad comparison to Surrealism is common.

Magic realism, a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Surrealism with its juxtaposition of the normal and the dream-like, as in the work of Gabriel García Márquez.[112] Carlos Fuentes was inspired by the revolutionary voice in Surrealist poetry and points to inspiration Breton and Artaud found in Fuentes' homeland, Mexico.[113] Though Surrealism was a direct influence on Magic Realism in its early stages, many Magic Realist writers and critics, such as Amaryll Chanady[114] and S. P. Ganguly,[115] while acknowledging the similarities, cite the many differences obscured by the direct comparison of Magic Realism and Surrealism such as an interest in psychology and the artefacts of European culture they claim is not present in Magic Realism. A prominent example of a Magic Realist writer who points to Surrealism as an early influence is Alejo Carpentier who also later criticized Surrealism's delineation between real and unreal as not representing the true South American experience.[116][117]

Surrealist groups

Surrealist individuals and groups have carried on with Surrealism after the death of André Breton in 1966. The original Paris Surrealist Group was disbanded by member Jean Schuster in 1969, but another Parisian surrealist group was later formed. The current Surrealist Group of Paris has recently published the first issue of their new journal, Alcheringa. The Group of Czech-Slovak Surrealists never disbanded, and continue to publish their journal Analogon, which now spans almost 100 volumes.

Surrealism and the theatre

Surrealist theatre and Artaud's "Theatre of Cruelty" were inspirational to many within the group of playwrights that the critic Martin Esslin called the "Theatre of the Absurd" (in his 1963 book of the same name). Though not an organized movement, Esslin grouped these playwrights together based on some similarities of theme and technique; Esslin argues that these similarities may be traced to an influence from the Surrealists. Eugène Ionesco in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history.[118][119] Samuel Beckett was also fond of Surrealists, even translating much of the poetry into English.[120][121] Other notable playwrights whom Esslin groups under the term, for example Arthur Adamov and Fernando Arrabal, were at some point members of the Surrealist group.[122][123][124]

Alice Farley is an American-born artist who became active during the 1970s in San Francisco after training in dance at the California Institute of the Arts.

World Surrealist Exhibition in Chicago in 1976.[125]

Alleged precursors in older art

Various much older artists are sometimes claimed as precursors of Surrealism. Foremost among these are

anthropomorphic landscapes. Many critics feel these works belong to fantastic art rather than having a significant connection with Surrealism.[129]

See also


  1. .
  2. ^ André Breton, Manifeste du surréalisme, various editions, Bibliothèque nationale de France.
  3. .
  4. ^ a b "André Breton (1924), Manifesto of Surrealism". 1924-06-08. Archived from the original on 2010-02-09. Retrieved 2012-12-06.
  5. .
  6. ^ Voorhies, James. "Surrealism". Metropolitan Museum of Art.
  7. ^ “The movement started in 1917, that year of war and revolution, when the term was coined by Guillaume Apollinaire and when three young intellectuals, André Breton, Philipp Soupault and Louis Aragon, met each other in Paris and found that they shared the same overriding artistic principle: any art, in future, was only possible if it denied the validity of bourgeois sense and morals.”— page 11 In: Haslam, Malcolm. The Real World of the Surrealists. New York: Galley Press / W.H.Smith Publishers, 1978.
  8. The British Library
  9. ^ Yvan Goll's manifesto preceded Breton's by fourteen days, although Breton eventually succeeded in claiming the term for his group. See Matthew S. Witkovsky, "Surrealism in the Plural: Guillaume Apollinaire, Ivan Goll and Devětsil in the 1920s" Papers of Surrealism, 2, Summer 2004, pp. 1–14.
  10. ^ Hargrove, Nancy (1998). "The Great Parade: Cocteau, Picasso, Satie, Massine, Diaghilev—and T.S. Eliot". Journal for the Interdisciplinary Study of Literature 31 (1).
  11. ^ Jean-Paul Clébert, Dictionnaire du surréalisme, A.T.P. & Le Seuil, Chamalières, p. 17, 1996.
  12. ^ Tracy A. Doyle, Erik Satie's ballet Parade: an arrangement for woodwind quintet and percussion with Historical Summary, University of Massachusetts, Amherst, 1998, Louisiana State University, August 2005, pp. 51–66.
  13. ^ Vassiliki Kolocotroni, Jane Goldman, and Olga Taxidou, Modernism: An Anthology of Sources and Documents, University of Chicago Press, 1998, p. 211.
  14. ^ Gascoyne, p. 39.
  15. ^ Sams, p. 282.
  16. ^ Breton, "Vaché is surrealist in me", in Surrealist Manifesto.
  17. .
  18. ^ a b Dalí, Salvador, Diary of a Genius quoted in The Columbia World of Quotations (1996) Archived April 6, 2009, at the Wayback Machine
  19. ^ a b c d Dawn Ades, with Matthew Gale: "Surrealism", The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. Oxford University Press, 2007. Accessed March 15, 2007,
  20. ^ Sadoul, Georges (12–18 December 1951). "Mon ami Buñuel". L'Écran Française. no. 335: 12.
  21. ^ a b Thomas Pynchon (1984) Slow Learner, p.20
  22. ^ Breton (1924) Manifesto of Surrealism Archived 2010-02-09 at the Wayback Machine. Pierre Reverdy's comment was published in his journal Nord-Sud, March 1918
  23. ^ a b "Surréalisme 1 October 1924 — Princeton Blue Mountain collection".
  24. ^ a b "Durozoi, History of the Surrealist Movement, excerpt".
  25. ^ André Breton, Manifestoes of Surrealism, transl. Richard Seaver and Helen R. Lane (Ann Arbor, 1971), p. 26.
  26. ^ "The AHRB Centre for Studies of Surrealism and its Legacies. | Research Explorer | The University of Manchester".
  27. – via Google Books.
  28. ^ "Man Ray / Paul Eluard – Les Mains libres – 1937 – Qu'est-ce que le surréalisme ?".
  29. – via Google Books.
  30. ^ José Pierre, Surrealism, Heron, 1970
  31. ^
  32. ^ Link to Guggenheim collection with reproduction of the painting and further information.
  33. ^ Link to Guggenheim collection with reproduction of the painting and further information.
  34. ^ Link to Guggenheim collection with reproduction of the painting and further information.
  35. ^ Brêton, André. Communicating Vessels. Trans. Mary Ann Caws & Geoffrey T. Harris. London & Lincoln: U of Nebraska Press/Bison Books, 1990.
  36. ^ Brêton, André. Les Vases communicants. Paris: Gallimard, 1955.
  37. ^ Vaneigem, Raoul. A Cavalier History of Surrealism. Trans. Donald Nicholson-Smith. Oakland: AK Press, 2000.
  38. ^ DANAE (2020-01-13). "Digital Montage: On Collage and the Legacy of Modernism". Medium. Retrieved 2021-02-24.
  39. ^
    OCLC 731109379
  40. .
  41. .
  42. .
  43. .
  44. .
  45. .
  46. ^ "The Theatre Of The Absurd". Archived from the original on 2009-08-23. Retrieved 2009-12-26.
  47. ^ "Artaud and Semiotics". Archived from the original on 2008-09-06. Retrieved 2009-12-26.
  48. ^ Louis Aragon, Backs to the Wall, in The Drama Review 18.4 (Dec. 1974): 88–107.
  49. ^ Bert Cardullo and Robert Knoff, eds. Theater of the Avant-Garde 1890–1950: A Critical Anthology. New Haven and London: Yale UP, 2001. 421–495.
  50. ^ Potter, Caroline (2016). Erik Satie: a Parisian Composer and his World. Boydell and Brewer.
  51. S2CID 216261062
  52. ^ Albright, Daniel (2000). Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press.
  53. ^ Bernard, Jonathan W. "Edgard Varése's "Arcana"". American Symphony Orchestra. Archived from the original on 2017-02-14.
  54. ^ Potter, Caroline (2018). "Pierre Boulez, Surrealist". Gli Spazi della Musica. 7.
  55. .
  56. ^ Sholl, Robert (2007). "Love, Mad Love and the "Point sublime": The Surrealist Poetics of Messiaen's Harawi". Messiaen Studies: 34–62.
  57. ^ Massey, Drew (2018). "Thomas Adès and the Dilemmas of Musical Surrealism". Gli Spazi della Musica. 7.
  58. ^ Taruskin, Richard (1999). "A Surrealist Composer comes to the Rescue of Modernism". The New York Times.
  59. ^
  60. ^
  61. ^ "Modern History Sourcebook: A Surrealist Manifesto, 1925". 1925-01-27. Retrieved 2009-12-26.
  62. ^ "Manifesto: Towards a Free Revolutionary Art – Breton/Trotsky(1938)".
  63. ^ Lewis, Helena. Dada Turns Red. 1990. University of Edinburgh Press. A history of the uneasy relations between Surrealists and Communists from the 1920s through the 1950s.
  64. ^ Kelley, Robin D. G. A Poetics of Anticolonialism. November 1999.
  65. ^ Kelley, Robin D. G. "Poetry and the Political Imagination: Aimé Césaire, Negritude, & the Applications of Surrealism". July 2001
  66. ^ "Frida Kahlo, Paintings, Chronology, Biography, Bio". Retrieved 2009-12-26.
  67. ^ Surrealist Art Archived 2012-09-18 at the Wayback Machine from Centre Pompidou. Retrieved March 20, 2007.
  68. ^ a b "1919–1950: The politics of Surrealism by Nick Heath". Retrieved 2009-12-26.
  69. ^ "Surrealism – Magritte – Voice of Space". Guggenheim Collection. Archived from the original on 2015-03-19. Retrieved 2009-12-26.
  70. ^ "Marcel Duchamp". Retrieved 2009-12-26.
  71. ^ Patrick Murphy (31 December 1980). "Ireland's greatest surrealist". The Irish Times.
  72. OCLC 37782914.{{cite book}}: CS1 maint: others (link
  73. ^ "". Archived from the original on October 1, 2008.
  74. ^ "Artist – Magritte – Empire of Light – Large". Guggenheim Collection. January 1953. Retrieved 2009-12-26.
  75. ^ "Artacademieparis". Archived from the original on May 10, 2018.
  76. ^ Breton, André. Surrealism and Painting, Icon, 1973
  77. ^ "Marcel Duchamp". Retrieved 2009-12-26.
  78. ^ International Surrealist Exhibition – Galerie Maeght, Paris« L’espace d'exposition comme matrice signifiante: l'exemple de l'exposition internationale du surréalisme à la galerie Maeght à Paris en 1947 », Ligiea, n°73-74-75-76 : Art et espace. Perception et représentation. Le lieu, le visible et l'espace-temps. le geste, le corps et le regard, sous la direction de Giovanni Lista, Paris, juin 2007, p. 230-242.
  79. ^ Vaneigem, Raoul (Dupuis Jules-François), Histoire désinvolte du surréalisme. Nonville: Paul Vermont, 1977. Vaneigem, Raoul (1999). A Cavalier History of Surrealism (PDF). Translated by Nicholson-Smith, Donald. Edinburgh: AK Press.
  80. ^ Vaneigem, Raoul (Dupuis Jules-François), Histoire désinvolte du surréalisme. Nonville: Paul Vermont, 1977. Translated by Donald Nicholson-Smith as A Cavalier History of Surrealism, Edinburgh: AK Press, 1999. pp. 49–51; 69–73.
  81. ^ a b Surrealism:Two Private Eyes. Retrieved August 27, 2010.
  82. ^ Anthony Christian, Hieronymus Bosch, The First Surrealist. Retrieved August 27, 2010.
  83. .
  84. .
  85. ^ Choucha, Nadia. Surrealism & the Occult: Shamanism, Alchemy and the Birth of an Artistic Movement. Rochester, Vermont: Destiny; Inner Traditions, 1992.
  86. ^ Deleuze, Gilles. The Logic of Sense. (English translation of Logique du sens. Paris: Les Editions de Minuit, 1969.) Translated by Mark Lester with Charles Stivale; edited by Constantin V. Boundas. New York: Columbia UP, 1990.
  87. ^ Viénet, Rene. Enragés and situationists in the occupation movement, France May ‘68. New York; London: Autonomedia; Rebel Press, 1992, p.21
  88. ^ Ford, Simon. The Situationist International: A User's Guide. London: Black Dog, 2005, pp. 112–130.
  89. .
  90. . pg. 154.
  91. . og. 219–222.
  92. ^ Rosemont, pg. 222–226
  93. . pg. 28.
  94. . pg. 75–79.
  95. . pg. 277–278.
  96. . pg. 82–83.
  97. . pg. 12, 239
  98. . pg. 184.
  99. ^ Ginsberg, pg. 180
  100. ^ pg. 185.
  101. ^ Ginsberg, pg. 182.
  102. ^ Miles, pg. 233.
  103. ^ Miles, pg. 242.
  104. ^ William S. Burroughs, James Grauerholz, Ira Silverberg. Word Virus: The William S. Burroughs Reader.Grove Press, 2000. 080213694X, 9780802136947. pg. 119, 254.
  105. , 9780312424688. pg. 457.
  106. , 9780719044090. pg. 98.
  107. . pg. 111, 150
  108. ^ "David Lynch and Surrealism: Deconstruction of the 'Lynchian' Label". Facets Features. 2017-09-02. Archived from the original on 2020-03-22. Retrieved 2020-03-22.
  109. ^ Philip Nel. The Avant-Garde and American Postmodernity: Small Incisive Shocks. Univ. Press of Mississippi, 2009. 1604732520, 9781604732528. pg. 73–74.
  110. . pg. 4
  111. ^ McMurray, George R. "Gabriel García Márquez." Gabriel García Márquez. Ungar, 1977. Rpt. in Contemporary Literary Criticism. Ed. Jean C. Stine and Bridget Broderick. Vol. 27. Detroit: Gale Research, 1984. Literature Resources from Gale. Web. 2 September 2010.
  112. , 9780826513458. pg. 55, 90.
  113. . pg. 23–25.
  114. . pg. 7.
  115. . pg. 62
  116. . pg. 524.
  117. . pg. 148.
  118. . pg. 41–42
  119. ., pg. 65
  120. . pg. 10
  121. ^ Esslin, pg. 89
  122. . pg. 3
  123. . pg. 118.
  124. ^ .
  125. .
  126. ^ Cohen, Alina (2018-04-24). "Why Bosch Is Used to Describe Everything from High Fashion to Heavy Metal". Artsy. Retrieved 2019-04-23.
  127. ^ "Giuseppe Arcimboldo: The prince of produce portraiture". nationalpost.
  128. OCLC 45329900


André Breton

Other sources

External links

André Breton writings

Overview websites

Surrealism and politics

Surrealist poetry