Surrealism 28766 225375619 2008-07-13T10:28:43Z SmackBot 433328 Date the maintenance tags or general fixes [[Image:The Elephant Celebes.jpg|right|thumb|250px|[[Max Ernst]]. ''[[The Elephant Celebes]]'', 1921]] {{Surrealism infobox}} '''Surrealism'''<ref name=appolinaire>In 1917, [[Guillaume Apollinaire]] coined the term "Surrealism" in the program notes describing the ballet ''[[Parade (ballet)|Parade]]'' which was a collaborative work by [[Jean Cocteau]], [[Erik Satie]], [[Pablo Picasso]] and [[Léonide Massine]]: "From this new alliance, for until now stage sets and costumes on one side and choreography on the other had only a sham bond between them, there has come about, in ''Parade'', a kind of super-realism ('sur-réalisme'), in which I see the starting point of a series of manifestations of this new spirit ('esprit nouveau')."</ref> is a cultural movement that began in the early-1920s, and is best known for the visual artworks and writings of the group members. The works feature the element of surprise, unexpected juxtapositions and [[Non sequitur (humor)|non sequitur]]; however many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost with the works being an artifact, and leader [[André Breton]] was explicit in his assertion that Surrealism was above all a revolutionary movement. From the [[Dada]] activities of [[World War I]] Surrealism was formed with the most important center of the movement in Paris. From the 1920s on it spread around the globe, eventually affecting the visual arts, literature, film, and music, of many countries and languages, as well as political thought and practice and philosophy and social theory. ==Founding of the movement== [[World War I]] scattered the writers and artists who had been based in Paris, and while away from Paris many involved themselves in the [[Dada]] movement, believing that excessive rational thought and [[bourgeois]] values had brought the terrifying conflict upon the world. The Dadaists protested with anti-rational [[anti-art]] gatherings, performances, writing and art works. After the war when they returned to Paris the Dada activities continued. During the war Surrealism's soon-to-be leader [[André Breton]], who had trained in medicine and psychiatry, served in a neurological hospital where he used the psychoanalytic methods of [[Sigmund Freud]] with soldiers who were [[shell-shock]]ed. He also met the young writer [[Jacques Vaché]] and felt that he was the spiritual son of writer and [['pataphysics|'pataphysician]] [[Alfred Jarry]], and he came to admire the young writer's anti-social attitude and disdain for established artistic tradition. Later Breton wrote, "In literature, I am successively taken with [[Arthur Rimbaud|Rimbaud]], with Jarry, with [[Guillaume Apollinaire|Apollinaire]], with [[Germain Nouveau|Nouveau]], with [[Comte de Lautréamont|Lautréamont]], but it is Jacques Vaché to whom I owe the most."<ref>Breton, "Vaché is surrealist in me", in ''[[Surrealist Manifesto]]''.</ref> Back in Paris, Breton joined in the Dada activities and also started the literary journal ''Littérature'' along with [[Louis Aragon]] and [[Philippe Soupault]]. They began experimenting with [[Surrealist automatism|automatic writing]]—spontaneously writing without censoring their thoughts—and published the "automatic" writings, as well as accounts of dreams, in ''Littérature''. Breton and Soupault delved deeper into automatism and wrote ''[[Les Champs Magnétiques|The Magnetic Fields (Les Champs Magnétiques)]]'' in 1919. They continued the automatic writing, gathering more artists and writers into the group, and coming to believe that automatism was a better tactic for societal change than the Dada attack on prevailing values. In addition to Breton, Aragon and Soupault the original Surrealists included [[Paul Éluard]], [[Benjamin Péret]], [[René Crevel]], [[Robert Desnos]], [[Jacques Baron]], [[Max Morise]], [[Marcel Noll]], [[Pierre Naville]], [[Roger Vitrac]], [[Simone Breton]], [[Gala Éluard]], [[Max Ernst]], [[Man Ray]], [[Hans Arp]], [[Georges Malkine]], [[Michel Leiris]], [[Georges Limbour]], [[Antonin Artaud]], [[Raymond Queneau]], [[André Masson]], [[Joan Miró]], [[Marcel Duchamp]], [[Jacques Prévert]] and [[Yves Tanguy]].<ref name=grove>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]], http://www.groveart.com/</ref> [[Image:La Revolution Surrealiste cover.jpg|thumb|right|Cover of the first issue of ''[[La Révolution surréaliste]]'', December 1924.]] As they developed their philosophy they felt that while Dada rejected categories and labels, 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 [[Dialectic#Hegelian dialectic|Hegelian Dialectic]]. They also looked to the [[Marxist]] dialectic and the work of such theorists as [[Walter Benjamin]] and [[Herbert Marcuse]]. [[Sigmund Freud|Freud's]] work with free association, dream analysis and the hidden unconscious was of the utmost importance to the Surrealists in developing methods to liberate imagination. However, they embraced [[idiosyncrasy]], while rejecting the idea of an underlying madness or darkness of the mind. (Later the idiosyncratic [[Salvador Dalí]] explained it as: "There is only one difference between a madman and me. I am not mad."<ref>[[Salvador Dalí|Dalí, Salvador]], ''[http://www.bartleby.com/66/82/15682.html Diary of a Genius]'' quoted in ''The Columbia World of Quotations'' (1996)</ref>) The group aimed to revolutionize human experience, including its personal, cultural, social, and political aspects, by freeing people from what they saw as false rationality, and restrictive customs and structures. [[André Breton|Breton]] proclaimed, the true aim of Surrealism is "long live the social revolution, and it alone!" To this goal, at various times surrealists aligned with [[communism]] and [[anarchism]]. In 1924 they declared their intents and philosophy with the issuance of the first [[Surrealist Manifesto]]. That same year they established the [[Bureau of Surrealist Research]], and began publishing the journal ''[[La Révolution surréaliste]]''. ===Surrealist Manifesto=== {{main|Surrealist Manifesto}} Breton wrote the [[Surrealist Manifesto|manifesto of 1924]] (another was issued in 1929) that defines the purposes of the group and includes citations of the influences on Surrealism, examples of Surrealist works and discussion of Surrealist automatism. He defined Surrealism as: {{quotation|'''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.<br><br> '''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.}} ===''La Révolution surréaliste''=== {{main|La Révolution surréaliste}} Shortly after releasing the first [[Surrealist Manifesto]] in 1924, the Surrealists published the inaugural issue of ''[[La Révolution surréaliste]]'' and publication continued into 1929. [[Pierre Naville]] and [[Benjamin Péret]] were the initial directors of the publication and modeled the format of the journal on the conservative scientific review ''La Nature.'' The format was deceiving, and to the Surrealists' delight ''La Révolution surréaliste'' was consistently scandalous and revolutionary. The journal focused on writing with most pages densely packed with columns of text, but also included reproductions of art, among them works by [[Giorgio de Chirico]], [[Max Ernst]], [[André Masson]] and [[Man Ray]]. ===Bureau of Surrealist Research=== {{main|Bureau of Surrealist Research}} The [[Bureau of Surrealist Research]] (Centrale Surréaliste) was the Paris office where the Surrealist writers and artists gathered to meet, hold discussions, and conduct interviews with the goal of investigating speech under trance. ==Expansion== [[Image:Masson automatic drawing.jpg|thumb|[[André Masson]]. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm. [[Museum of Modern Art]], New York.]] The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games and discussed the theories of Surrealism. The Surrealists developed techniques such as [[automatic drawing]]. (See [[Surrealist techniques]] and [[:Category:Surrealist games|games]].) 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 [[Surrealist automatism|automatism]]. This caution was overcome by the discovery of such [[Surrealist techniques|techniques]] as [[Frottage (art)|frottage]], and [[decalcomania]]. Soon more visual artists joined Surrealism including [[Giorgio de Chirico]], [[Salvador Dalí]], [[Enrico Donati]], [[Alberto Giacometti]], [[Valentine Hugo]], [[Méret Oppenheim]], [[Toyen]], [[Grégoire Michonze]], and [[Luis Buñuel]]. Though Breton admired [[Pablo Picasso]] and [[Marcel Duchamp]] and courted them to join the movement, they remained peripheral.<ref name="tomkins">[[Calvin Tomkins|Tomkins, Calvin]], ''Duchamp: A Biography''. Henry Holt and Company, Inc, 1996. ISBN 0-8050-5789-7</ref> More writers also joined, including former Dada leader [[Tristan Tzara]], [[René Char]], [[Georges Sadoul]], [[André Thirion]] and [[Maurice Heine]]. In 1925 an autonomous Surrealist group formed in Brussels becoming official in 1926. The group included the musician, poet and artist [[E.L.T. Mesens]], painter and writer [[René Magritte]], [[Paul Nougé]], [[Marcel Lecomte]], [[Camille Goemans]], 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.<ref name="grove"/> The artists, with their roots in [[Dada]] and [[Cubism]], the abstraction of [[Wassily Kandinsky]] and [[Expressionism]], and [[Post-Impressionism]], also reached to older "bloodlines" such as [[Hieronymus Bosch]], and the so-called primitive and naive arts. [[André Masson]]'s [[automatic drawing]]s 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 [[Alberto 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)''<ref>[http://www.guggenheimcollection.org/site/artist_work_md_45_6.html Link to Guggenheim collection] with reproduction of the painting and further information.</ref> with ''The Kiss (Le Baiser)''<ref>[http://www.guggenheimcollection.org/site/artist_work_md_45_4.html Link to Guggenheim collection] with reproduction of the painting and further information.</ref> from 1927 by [[Max Ernst|Ernst]]. The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly. In the second the influence of [[Joan Miró|Miró]] and the drawing style of [[Pablo Picasso|Picasso]] is visible with the use of fluid curving and intersecting lines and colour, where as the first takes a directness that would later be influential in movements such as [[Pop art]]. [[Image:The Red Tower.jpg|left|thumb|[[Giorgio de Chirico]] ''The Red Tower (La Tour Rouge)'' 1913]] [[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 poete)''<ref>[http://www.guggenheimcollection.org/site/artist_work_md_35_1.html Link to Guggenheim collection] with reproduction of the painting and further information.</ref> 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, and his novel ''[[Hebdomeros]]'' presents a series of dreamscapes with an unusual use of punctuation, syntax and grammar designed to create a particular atmosphere and frame around its images. His images, including set designs for the [[Ballets Russes]], would create a decorative form of visual Surrealism, and he would be an influence on the two artists who would be even more closely associated with Surrealism in the public mind: [[Salvador Dalí]] and [[René Magritte|Magritte]]. He would, however, leave the Surrealist group in 1928. In 1924, [[Joan Miró|Miro]] and [[André Masson|Masson]] applied Surrealism theory to painting explicitly leading to the ''La Peinture Surrealiste'' exhibition. Breton published ''Surrealism and Painting'' in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s. '''Major exhibitions in the 1920s''' *1925 - ''La Peinture Surrealiste'' - The first ever Surrealist exhibition at Gallerie Pierre in Paris. Displayed works by [[André Masson|Masson]], [[Man Ray]], [[Paul Klee|Klee]], [[Joan Miró|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), techniques from Dada, such as [[photomontage]] were used. *[[Galerie Surréaliste]] opened on [[March 26]], [[1926]] with an exhibition by [[Man Ray]]. ===Writing continues=== [[Image:MagrittePipe.jpg|thumb|right|[[René Magritte]] "This is not a pipe." ''[[The Treachery Of Images]]'' 1928-9]] The first Surrealist work, according to leader [[André Breton|Breton]], was ''[[Les Champs Magnétiques|Magnetic Fields (Les Champs Magnétiques)]]'' (May&ndash;June 1919). ''Littérature'' contained automatist works and accounts of dreams. The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones, the poetic undercurrents present. Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which "exist in ambiguous relationships to the visual images." Because Surrealist writers seldom, if ever, appear to organize their thoughts and the images they present, some people find much of their work difficult to parse. This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. But — as in Breton's case itself — much of what is presented as purely automatic is actually edited and very "thought out". Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since automatic painting required a rather more strenuous set of approaches. Thus such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in [[Pierre Reverdy]]'s poetry. And — as in [[René Magritte|Magritte's]] case (where there is no obvious recourse to either automatic techniques or collage) the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism was meant to be always in flux — to be more modern than modern — and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose. Surrealists revived interest in [[Isidore Ducasse]], known by his pseudonym "Le Comte de Lautréamont" and for the line "beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella", and [[Arthur Rimbaud]], two late 19th century writers believed to be the precursors of Surrealism. Examples of Surrealist literature are [[René Crevel|Crevel's]] ''Mr. Knife Miss Fork'' (1931), [[Louis Aragon|Aragon's]] ''Irene's Cunt'' (1927), [[André Breton|Breton's]] ''Sur la route de San Romano'' (1948), [[Benjamin Peret|Peret's]] ''Death to the Pigs'' (1929), and [[Antonin Artaud|Artaud's]] ''Le Pese-Nerfs'' (1926). ''[[La Révolution surréaliste]]'' continued publication into 1929 with most pages densely packed with columns of text, but also included reproductions of art, among them works by [[Giorgio de Chirico|de Chirico]], [[Max Ernst|Ernst]], [[André Masson|Masson]] and [[Man Ray]]. Other works included books, poems, pamphlets, automatic texts and theoretical tracts. ===Films by Surrealists=== <!-- Image with inadequate rationale removed: [[Image:Andalou.jpg|thumb|Still from the opening of ''[[Un chien andalou]]'' by [[Luis Buñuel]] and [[Dalí]].]] --> {{main|List of surrealist films}} Early films by Surrealists include: *''[[Entr'acte]]'' by [[René Clair]] (1924) *''[[The Seashell and the Clergyman|La Coquille et le clergyman]]'' by [[Germaine Dulac]], screenplay by [[Antonin Artaud]] (1928) *''[[Un chien andalou]]'' by Luis Buñuel and Salvador Dalí (1929) *''[[L'Étoile de mer]]'' by [[Man Ray]] (1928) *''[[L'Âge d'Or]]'' by Luis Buñuel and [[Salvador Dalí]] (1930) *''[[The Blood of a Poet|Le sang d'un poète]] by [[Jean Cocteau]] (1930) ===Music by Surrealists=== {{main|Surrealist music}} In the 1920s several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Among them were [[Bohuslav Martinů]], [[André Souris]], and [[Edgard Varèse]], who stated that his work ''Arcana'' was drawn from a dream sequence.{{Fact|date=June 2007}} Souris in particular was associated with the movement: he had a long relationship with [[Magritte]], and worked on [[Paul Nouge]]'s publication ''Adieu Marie''. [[Germaine Tailleferre]] of the French group [[Les Six]] wrote several works which could be considered to be inspired by Surrealism{{Fact|date=March 2007}}, including the 1948 Ballet ''Paris-Magie'' (scenario by [[Lise Deharme]]), the Operas ''La Petite Sirène'' (book by Philippe Soupault) and ''Le Maître'' (book by Eugène Ionesco).{{Fact|date=March 2007}} Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s. Even though Breton by 1946 responded rather negatively to the subject of music with his essay ''Silence is Golden,'' later Surrealists have been interested in&mdash;and found parallels to&mdash;Surrealism in the improvisation of [[jazz]] and the [[blues]]. Surrealists such as [[Paul Garon]] have written articles and full-length books on the subject. Jazz and blues musicians have occasionally reciprocated this interest. For example, the [[1976 World Surrealist Exhibition]] included performances by [[David Honeyboy Edwards|Honeyboy Edwards]]. ==Surrealism and international politics== Surrealism as a political force developed unevenly around the world, in some places more emphasis was on artistic practices, in other places political and in other places still, Surrealist praxis looked to supersize both the arts and politics. During the 1930s the Surrealist idea spread from Europe to North America, South America, [[Central America]], [[the Caribbean]], and throughout Asia. As both an artistic idea and as an ideology of political change. Politically, Surrealism was ultra-leftist, [[communist]], or [[anarchist]]. The split from Dada has been characterised as a split between anarchists and communists, with the Surrealists as communist. Breton and his comrades supported [[Leon Trotsky]] and his [[International Left Opposition]] for a while, though there was an openness to anarchism that manifested more fully after [[World War II]]. Some Surrealists, such as [[Benjamin Peret]], Mary Low, and Juan Breá, aligned with forms of [[left communism]]. [[Salvador Dalí|Dalí]] supported capitalism and the fascist dictatorship of [[Francisco Franco]] but cannot be said to represent a trend in Surrealism in this respect; in fact he was considered, by Breton and his associates, to have betrayed and left Surrealism. Péret, Low, and Breá joined the [[Workers' Party of Marxist Unification|POUM]] during the [[Spanish Civil War]]. Breton's followers, along with the [[Communist Party]], were working for the "liberation of man." However, Breton's group refused to prioritize the [[proletarian]] struggle over radical creation such that their struggles with the Party made the late 1920s a turbulent time for both. Many individuals closely associated with Breton, notably [[Louis Aragon]], left his group to work more closely with the Communists. Surrealists have often sought to link their efforts with political ideals and activities. In the ''Declaration of [[January 27]], [[1925]]'',<ref>[http://www.fordham.edu/halsall/mod/1925Surrealism.html Modern History Sourcebook: A Surrealist Manifesto, 1925<!-- Bot generated title -->]</ref> for example, members of the Paris-based [[Bureau of Surrealist Research]] (including André Breton, Louis Aragon, and, Antonin Artaud, as well as some two dozen others) declared their affinity for revolutionary politics. While this was initially a somewhat vague formulation, by the 1930s many Surrealists had strongly identified themselves with communism. The foremost document of this tendency within Surrealism is the ''Manifesto for a Free Revolutionary Art'',<ref>http://www.generation-online.org/c/fcSurrealism1.html</ref> published under the names of Breton and [[Diego Rivera]], but actually co-authored by Breton and [[Leon Trotsky]].<ref>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.</ref> However, in 1933 the Surrealists’ assertion that a 'proletarian literature' within a capitalist society was impossible led to their break with the Association des Ecrivains et Artistes Révolutionnaires, and the expulsion of Breton, Éluard and Crevel from the Communist Party.<ref name="grove"/> In 1925, the Paris Surrealist group and the extreme left of the [[French Communist Party]] came together to support [[Abd-el-Krim]], leader of the [[Rif]] uprising against French colonialism in [[Morocco]]. In an open letter to writer and French ambassador to Japan, [[Paul Claudel]], the Paris group announced: :"We Surrealists pronounced ourselves in favour of changing the imperialist war, in its chronic and colonial form, into a civil war. Thus we placed our energies at the disposal of the revolution, of the proletariat and its struggles, and defined our attitude towards the colonial problem, and hence towards the colour question." The anticolonial revolutionary and proletarian politics of "Murderous Humanitarianism" (1932) which was drafted mainly by [[Rene Crevel]], signed by [[André Breton]], [[Paul Éluard]], [[Benjamin Peret]], [[Yves Tanguy]], and the Martiniquan Surrealists [[Pierre Yoyotte]] and [[J.M. Monnerot]] perhaps makes it the original document of what is later called 'black Surrealism',<ref>[[Robin D.G. Kelley|Kelley, Robin D.G.]] ''A Poetics of Anticolonialism''. November 1999.</ref> although it is the contact between [[Aimé Césaire]] and Breton in the 1940s in Martinique that really lead to the communication of what is known as 'black Surrealism'. Anticolonial revolutionary writers in the [[Négritude]] movement of [[Martinique]], a French colony at the time, took up Surrealism as a revolutionary method - a critique of European culture and a radical subjective. This linked with other Surrealists and was very important for the subsequent development of Surrealism as a revolutionary praxis. The journal ''[[Tropiques]]'', featuring the work of Cesaire along with [[René Ménil]], [[Lucie Thésée]], [[Aristide Maugée]] and others, was first published in 1940.<ref>[[Robin D.G. Kelley|Kelley, Robin D.G.]] "Poetry and the Political Imagination: Aimé Césaire, Negritude, & the Applications of Surrealism". July 2001</ref> It is interesting to note that when in 1938 André Breton traveled with his wife the painter Jacqueline Lamba to [[Mexico]] to meet Trotsky; staying as the guest of [[Diego Rivera]]'s former wife Guadalupe Marin; he met [[Frida Kahlo]] and saw her paintings for the first time. Breton declared Kahlo to be an "innate" Surrealist painter.<ref>[http://www.fridakahlofans.com/chronologyenglish.html Frida Kahlo, Paintings, Chronology, Biography, Bio<!-- Bot generated title -->]</ref> ===Internal politics=== In 1929 the satellite group around the journal ''Le Grand Jeu'', including [[Roger Gilbert-Lecomte]], [[Maurice Henry]] and the Czech painter [[Josef Sima]], was ostracized. Also in February, Breton asked Surrealists to assess their "degree of moral competence", and theoretical refinements included in the second ''[[Surrealist Manifesto|manifeste du surréalisme]]'' excluded anyone reluctant to commit to collective action: [[Michel Leiris|Leiris]], [[Limbour]], [[Morise]], [[Jacques Baron|Baron]], [[Raymond Queneau|Queneau]], [[Jacques Prévert|Prévert]], [[Robert Desnos|Desnos]], [[André Masson|Masson]] and [[Jacques-André Boiffard|Boiffard]]. They moved to the periodical ''[[Documents (journal)|Documents]]'', edited by [[Georges Bataille]], whose anti-idealist materialism produced a hybrid Surrealism exposed the base instincts of humans.<ref name="grove"/><ref name="pompidou">[http://www.cnac-gp.fr/education/ressources/ENS-Surrealistart-EN/ENS-Surrealistart-EN.htm Surrealist Art] from [[Centre Pompidou]]. Accessed [[March 20]], [[2007]]</ref> Other members were ousted over the years for a variety of infractions, both political and personal, and others left of to pursue creativity of their own style. ==Golden age== [[Image:The Persistence of Memory.jpg|thumb|[[Salvador Dalí]]. ''[[The Persistence of Memory]]''. 1931.]] Throughout the 1930s, Surrealism continued to become more visible to the public at large. A [[British Surrealist Group|Surrealist group developed in Britain]] and, according to Breton, their 1936 [[London International Surrealist Exhibition]] was a high water mark of the period and became the model for international exhibitions. [[Salvador Dalí|Dalí]] and [[René Magritte|Magritte]] created the most widely recognized images of the movement. Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935. Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer. 1931 marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's ''Voice of Space (La Voix des airs)''[http://www.guggenheimcollection.org/site/movement_work_md_Surrealism_92_2.html] is an example of this process, where three large spheres representing bells hang above a landscape. Another Surrealist landscape from this same year is [[Yves Tanguy]]'s ''[[:Image:Premontory Palace.jpg|Promontory Palace (Palais promontoire)]]'', with its molten forms and liquid shapes. Liquid shapes became the trademark of Dalí, particularly in his ''[[The Persistence of Memory]]'', which features the image of watches that sag as if they are melting. The characteristics of this style - a combination of the depictive, the abstract, and the psychological - came to stand for the alienation which many people felt in the [[Modernism|modern]] period, combined with the sense of reaching more deeply into the psyche, to be "made whole with one's individuality". From 1936 through 1938 [[Wolfgang Paalen]], [[Gordon Onslow Ford]] and [[Roberto Matta]] joined the group. Paalen contributed [[Fumage]] and Onslow Ford [[Coulage]] as new pictorial automatic techniques. Long after personal, political and professional tensions fragmented the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. This program reached beyond painting, to encompass photography as well, as can be seen from a [[Man Ray]] self portrait, whose use of assemblage influenced [[Robert Rauschenberg]]'s collage boxes. [[Image:L'Ange du Foyeur.jpg|thumb|left|[[Max Ernst]], ''L'Ange du Foyeur ou le Triomphe du Surréalisme''. 1937. Oil on canvas, 114 x 146 cm. Private collection.]] During the 1930s [[Peggy Guggenheim]], an important American art collector, married [[Max Ernst]] and began promoting work by other Surrealists such as [[Yves Tanguy|Tanguy]] and the British artist [[John Tunnard]]. '''Major exhibitions in the 1930s''' *1936 - ''[[London International Surrealist Exhibition]]'' is organised in London by the art historian [[Herbert Read]], with an introduction by [[André Breton]]. *1936 - [[Museum of Modern Art]] in New York shows the exhibition ''Fantastic Art, Dada and Surrealism''. *1938 - A new ''International Surrealist Exhibition'' was held at the Beaux-arts Gallery, Paris, with more than 60 artists from different countries, and showed around 300 paintings, objects, collages, photographs and installations. The Surrealists wanted to create an exhibition which in itself would be a creative act and called on [[Marcel Duchamp]] to do so. At the exhibition's entrance he placed [[Salvador Dalí]]'s ''[http://www.humboldt.edu/~cs7005/45sd.html Rainy Taxi]'' (an old taxi rigged to produce a steady drizzle of water down the inside of the windows, and a shark-headed creature in the driver's seat and a blond mannequin crawling with live snails in the back) greeted the patrons who were in full evening dress. ''Surrealist Street'' filled one side of the lobby with mannequins dressed by various Surrealists. He designed the main hall to seem like subterranean cave with 1,200 coal bags suspended from the ceiling over a coal brazier with a single light bulb which provided the only lighting,[http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_8.html] so patrons were given flashlights with which to view the art. The floor was carpeted with dead leaves, ferns and grasses and the aroma of roasting coffee filled the air. Much to the Surrealists' satisfaction the exhibition scandalized the viewers.<ref name="tomkins"/> ====World War II and the Post War period==== [[Image:Indefinite Divisibility.jpg|right|thumb|250px|[[Yves Tanguy]] ''Indefinite Divisibility'' 1942]] [[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 [[New York City]] in particular was already grappling with Surrealist ideas and several artists like [[Arshile Gorky]], [[Jackson Pollock]], [[Robert Motherwell]], and [[Roberto Matta]], converged closely with the surrealist artists themselves, albeit with some suspicion and reservations. Ideas concerning the unconscious and dream imagery were quickly embraced. By the [[Second World War]], the taste of the American [[avant-garde]] swung decisively towards [[Abstract Expressionism]] with the support of key taste makers, including [[Peggy Guggenheim]], [[Leo Steinberg]] and [[Clement Greenberg]]. However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during World War II. In particular, [[Arshile Gorky]] and [[Wolfgang Paalen]] influenced the development of this American art form, which, as Surrealism did, celebrated the instantaneous human act as the well-spring of creativity. The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of [[Dadaist]]ic humor in such artists as [[Rauschenberg]] sheds an even starker light upon the connection. Up until the emergence of [[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 1940 [[Yves Tanguy]] married American Surrealist painter [[Kay Sage]]. In 1941, Breton went to the United States, where he co-founded the short-lived magazine ''[[VVV]]'' with [[Max Ernst]], Marcel Duchamp, and the American artist [[David Hare (artist)|David Hare]]. However, it was the American poet, [[Charles Henri Ford]], and his magazine ''[[View (magazine)|View]]'' which offered Breton a channel for promoting Surrealism in the United States. The ''View'' special issue on Duchamp was crucial for the public understanding of Surrealism in America. It stressed his connections to Surrealist methods, offered interpretations of his work by Breton, as well as Breton's view that Duchamp represented the bridge between early modern movements, such as [[Futurism (art)|Futurism]] and [[Cubism]], to Surrealism. [[Wolfgang Paalen]] left the group in 1942 due to political/philosophical differences with Breton, founding his journal [[Dyn]]. 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 Thirion, argued that there were works of his after this period that continued to have some relevance for the movement. During the 1940s Surrealism's influence was also felt in England and America. [[Mark Rothko]] took an interest in [[biomorphism|biomorphic]] figures, and in England [[Henry Moore]], [[Lucian Freud]], [[Francis Bacon (painter)|Francis Bacon]] and [[Paul Nash (artist)|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 Personneles)''[http://www.sfmoma.org/MSoMA/newAWScreen.asp?awScreenNum=5139] and 1954's ''Empire of Light (L’Empire des lumières)''.[http://www.guggenheimcollection.org/site/artist_work_lg_92_1.html] Magritte continued to produce works which have entered artistic vocabulary, such as ''Castle in the Pyrenees (La Chateau des Pyrenees)'',[http://bertc.com/images/magritte_12ai.jpg] 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."<ref name="tomkins"/> Many new artists explicitly took up the Surrealist banner for themselves. [[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 of 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 of 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.[http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_9.html] 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.<ref name="tomkins"/> *1947 - International Surrealist Exhibition - Paris *1959 - International Surrealist Exhibition - Paris *1960 - ''Surrealist Intrusion in the Enchanters' Domain'' - New York ==Post Breton Surrealism== [[Image:ElleLogeLaFolie 1970.jpg|thumb|400px|right|[[Roberto Matta]]. ''Elle Loge La Folie'', oil on canvas, 1970.]] There is no clear consensus about the end, or if there was an end, to the Surrealist movement. Some art historians suggest that World War II effectively disbanded the movement. However, art historian [[Sarane Alexandrian]] (1970) states, "the death of André Breton in 1966 marked the end of Surrealism as an organized movement." There have also been attempts to tie the obituary of the movement to the 1989 death of Salvador Dalí{{Fact|date=March 2008}}. In the 1960s, the artists and writers grouped around the [[Situationist International]] were closely associated with Surrealism. While [[Guy Debord]] was critical of and distanced himself from Surrealism, others, such as [[Asger Jorn]], were explicitly using Surrealist techniques and methods. 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]]. In Europe and all over the world since the 1960s, artists have combined Surrealism with what is believed to be a classical 16th century technique called [[mischtechnik]], a kind of mix of [[egg tempera]] and oil paint rediscovered by [[Ernst Fuchs (artist)|Ernst Fuchs]], a contemporary of Dalí, and now practiced and taught by many followers, including [[Robert Venosa]] and [[Chris Mars]]. The former curator of the [[San Francisco Museum of Modern Art]], Michael Bell, has called this style "veristic Surrealism", which depicts with meticulous clarity and great detail a world analogous to the dream world. Other [[tempera]] artists, such as [[Robert Vickrey]], regularly depict Surreal imagery. During the 1980s, behind the [[Iron Curtain]], Surrealism again entered into politics with an underground artistic opposition movement known as the [[Orange Alternative]]. The Orange Alternative was created in 1981 by [[Waldemar Fydrych]] (alias 'Major'), a graduate of history and art history at the University of [[Wrocław]]. They used Surrealist symbolism and terminology in their large scale happenings organized in the major Polish cities during the [[Jaruzelski]] 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 [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York City held an exhibit, ''Two Private Eyes'', in 1999, and in 2001 [[Tate Modern]] held an exhibition of Surrealist art that attracted over 170,000 visitors. In 2002 the [[Metropolitan Museum|Met]] in New York City held a show, ''Desire Unbound,'' and the [[Centre Georges Pompidou]] in Paris a show called ''La Révolution surréaliste''. == Impact of Surrealism == While Surrealism is typically associated with the arts, it has been said to transcend them; Surrealism has had an impact in 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. In addition to Surrealist ideas that are grounded in the ideas of [[Georg Wilhelm Friedrich Hegel|Hegel]], [[Karl Marx|Marx]] and [[Sigmund Freud|Freud]], Surrealism is seen by its advocates as being inherently dynamic and as dialectical in its thought. Surrealists have also drawn on sources as seemingly diverse as [[Clark Ashton Smith]], [[Montague Summers]], [[Horace Walpole]], [[Fantomas]], [[The Residents]], [[Bugs Bunny]], [[comic strips]], the obscure poet [[Samuel Greenberg]] and the [[hobo]] writer and humourist [[T-Bone Slim]]. One might say that Surrealist strands may be found in movements such as [[Free Jazz]] ([[Don Cherry (jazz)|Don Cherry]], [[Sun Ra]], [[Cecil Taylor]] etc.) and even in the daily lives of people in confrontation with limiting social conditions. Thought of as the effort of humanity to liberate imagination as an act of insurrection against society, Surrealism finds precedents in the [[alchemy|alchemists]], possibly [[Dante Alighieri|Dante]], [[Hieronymus Bosch]], [[Donatien Alphonse Francois de Sade|Marquis de Sade]], [[Charles Fourier]], [[Comte de Lautreamont]] and [[Arthur Rimbaud]]. Surrealists believe that non-Western cultures also provide a continued source of inspiration for Surrealist activity because some may strike up a better balance between instrumental reason and imagination in flight than Western culture. Surrealism has had an identifiable impact on radical and revolutionary politics, both directly — as in some Surrealists joining or allying themselves with radical political groups, movements and parties — and indirectly — through the way in which Surrealists' emphasize the intimate link between freeing imagination and the mind, and liberation from repressive and archaic social structures. This was especially visible in the [[New Left]] of the 1960s and 1970s and the [[May 1968|French revolt of May 1968]], whose slogan "All power to the imagination" rose directly from French Surrealist thought and practice. 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's no widely agreed upon central definition of [[Postmodernism]], many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism. Perhaps the writers within the Postmodern era who have the most in common with Surrealism are the playwrights of [[Theatre of the Absurd]]. Though not an organized movement, these playwrights were grouped together based on some similarities of theme and technique; these similarities can perhaps be traced to influence from the Surrealists. [[Eugene Ionesco]] in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history. [[Samuel Beckett]] was also fond of Surrealists, even translating much of the poetry into English; he may have had closer ties had the Surrealists not been critical of Beckett's mentor and friend [[James Joyce]]. Many writers from and associated with the [[Beat Generation]] were influenced greatly by Surrealists. [[Philip Lamantia]] and [[Ted Joans]] are often categorized as both Beat and Surrealist writers. Many other Beat writers claimed Surrealism as a significant influence. A few examples include [[Bob Kaufman]], [[Gregory Corso]], and [[Allen Ginsberg]]. In popular culture much of the [[Stream of consciousness writing|stream of consciousness]] song writing of the young [[Bob Dylan]], c. 1960s and including some of [[Bob Dylan|Dylan]]'s more recent writing as well, (c. mid - 1980s-2006) clearly have Surrealist connections and undertones. [[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. The prominence of Magic Realism in Latin American literature is often credited in some part to the direct influence of Surrealism on Latin American artists ([[Frida Kahlo]], for example). ===Surrealist groups=== {{Expand-section|date=December 2007}} {{dablink|For further information, see [[:Category:Surrealist groups]]}} Surrealist individuals and groups have attempted to carry on with Surrealism after the death of André Breton in 1966. The original Paris Surrealist Group was disbanded by member Jean Schuster in 1969. ===Surrealism and theatre=== Surrealist theater depicts the subconscious experience, moody tone and disjointed structure, sometimes imposing a unifying idea.<ref>[http://www.english.uiuc.edu/lit_resources/English%20102/Miscellaneous/Terms/samuel_beckett_terms.htm Samuel Beckett Terms<!-- Bot generated title -->]</ref> [[Antonin Artaud]], one of the original Surrealists, rejected Western theatre as a perversion of the original intent of theatre, which he felt should be a religious and mystical experience. He thought that rational discourse comprised "falsehood and illusion", which embodied the worst of discourse. Endeavouring to create a new theatrical form that would be immediate and direct, linking the unconscious minds of performers and spectators, a sort of ritual event,<ref>[http://www.holycross.edu/departments/theatre/eisser/semiotics.html Artaud and Semiotics<!-- Bot generated title -->]</ref> Artaud created the [[Theatre of Cruelty]] where emotions, feelings, and the metaphysical were expressed not through text or dialogue but physically, creating a mythological, archetypal, allegorical vision, closely related to the world of dreams.<ref>[http://www.arts.gla.ac.uk/Slavonic/Absurd.htm The Theatre Of The Absurd<!-- Bot generated title -->]</ref> These sentiments also led to the [[Theatre of the Absurd]] whose inspiration came, in part, from silent film and comedy, as well as the tradition of verbal nonsense in early sound film ([[Laurel and Hardy]], [[W. C. Fields]], the [[Marx Brothers]]). ===Surrealism and film=== :''See also, [[List of surrealist films]].'' {{Expand-section|date=December 2007}} ===Surrealism and comedy=== {{Main|Surrealist humor}} ==Criticism of Surrealism== === Feminist === [[Feminists]] have in the past critiqued the Surrealist movement, claiming that it is fundamentally a male movement and a male fellowship, despite the occasional few celebrated woman Surrealist painters and poets. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically through stereotypes and sexist norms. Women are often made to represent higher values and transformed into objects of desire and of mystery.<ref name="greer">[[Germaine Greer|Greer, Germaine]], [http://arts.guardian.co.uk/art/visualart/story/0,,2026710,00.html?gusrc=rss&feed=40 "Double vision: Surrealism's women thought they were celebrating sexual emancipation. But were they just fulfilling men's erotic fantasies?"], ''[[Guardian Unlimited]]'', [[March 5]], [[2007]]. (Accessed [[March 25]], [[2007]]).</ref> One of the pioneers in feminist critique of Surrealism was [[Xavière Gauthier]]. Her book ''Surréalisme et sexualité'' (1971) inspired further important scholarship related to the marginalization of women in relation to "the [[avant-garde]]." However these criticisms are perhaps more so of other avant-garde movements like [[Situationist International|Situationism]], where women had a much more subordinate role to the men. Also, despite the theoretical objectification, Surrealism as a living praxis allowed room for women artists and painters in particular to work and produce work on their own terms. ===Freudian=== [[Freud]] initiated the psychoanalytic critique of Surrealism with his remark that what interested him most about the Surrealists was not their unconscious but their conscious. His meaning was that the manifestations of and experiments with psychic automatism highlighted by Surrealists as the liberation of the unconscious were highly structured by ego activity, similar to the activities of the dream censorship in dreams, and that therefore it was in principle a mistake to regard Surrealist poems and other art works as direct manifestations of the unconscious, when they were indeed highly shaped and processed by the ego. In this view, the Surrealists may have been producing great works, but they were products of the conscious, not the unconscious mind, and they deceived themselves with regard to what they were doing with the unconscious. In psychoanalysis proper, the unconscious does not just express itself automatically but can only be uncovered through the analysis of resistance and transference in the psychoanalytic process.{{Fact|date=March 2007}} ===Situationist=== While some individuals and groups on the core and fringes of the [[Situationist International]] were Surrealists themselves, others were very critical of the movement, or indeed what remained of the movement in the late 1950s and '60s. The Situationist International could therefore be seen as a break and continuation of the Surrealist praxis.{{Fact|date=March 2007}} ==Timeline of Membership== <blockquote style="background: white; border: 0px solid black; padding: 1em;"> {| border="1" cellpadding="1" cellspacing="0" align="center" ! style="background:#FFF6D6;"|Year ! colspan="2" style="background:#EEF6D6;" | Membership |- |1919 |[[André Breton]], [[Louis Aragon]], and [[Philippe Soupault]] started ''Littérature'', began an association with [[Dada]]. |- |1922 |Breton appropriated the term "Surrealism" as a group -- which now included [[Paul Éluard]], [[Benjamin Péret]], [[Man Ray]], [[Jacques Baron]], [[René Crevel]], [[Robert Desnos]], [[Georges Limbour]], [[Roger Vitrac]], and [[Joseph Delteil]] -- organized under Breton and pulled away from the influence of [[Tristan Tzara]] and the Dadaists. [[Marcel Duchamp]] frequently associated with this group but never officially joined. |- |1924 |The year the first ''[[Surrealist Manifesto]]'' was published, members also included [[Antonin Artaud]], [[Andre Masson]], [[Raymond Queneau]], [[Joan Miró]], [[Max Morise]], [[Pierre Naville]], [[Mathias Lübeck]], [[Jacques-André Boiffard]] and [[Georges Malkine]]. [[Giorgio de Chirico]] briefly associated with the group but never joined. |- |1925 |[[Jacques Prévert]], [[Yves Tanguy]], [[Pierre Brasseur]], [[Marcel Duhamel]], and [[Michel Leiris]] joined the group. |- |1926 |[[Rene Magritte]], [[E. L. T. Mesens]], and others started a Surrealist group in Belgium. [[Pablo Picasso]] associated with the Surrealists but never officially joined. |- |1927 |Soupault, Artaud, and Vitrac were kicked out of the group. |- |1929 |For various reasons, including the political direction Breton was taking Surrealism, several members -- Prévert, Baron, Desnos, Leiris, Limbour, Masson, Queneau, Morise, Boiffard -- broke with the group and organized under [[Georges Bataille]]. However, several new members joined: [[Salvador Dalí]], [[Luis Buñuel]], [[Alberto Giacometti]], [[René Char]], and [[Lee Miller]]. Breton also reconciled with Tzara. When the second ''Surrealist Manifesto'' was published, it was signed by Aragon, Ernst, Buñuel, Char, Crevel, Dali, Eluard, Ernst, Péret, Tanguy, Tzara, [[Maxime Alexandre]], [[Joe Bousquet]], [[Camille Goemans]], [[Paul Nougé]], [[Francis Ponge]], [[Marco Ristitch]], [[Georges Sadoul]], [[André Thirion]], and [[Albert Valentin]]. [[Federico García Lorca]] was friends with Dalí and Buñuel and is often called a Surrealist though he never officially joined the group; he broke contact with Dalí and Buñuel in 1929 when he interpreted their film, ''Un chien andalou'' (''An Andalusian Dog''), as an attack on him. |- |1932 |Aragon and Sadoul left the Surrealists because of the conflict between Communism and Surrealism and their dedication to the Communist party. [[Meret Oppenheim]], [[Victor Brauner]], [[Roger Caillois]], [[Georges Hugnet]], [[Jehan Mayoux]], [[Henri Pastoureau]], [[Guy Rosey]], [[Claude Cahun]] and [[J. M. Monnerot]] joined the group. |- |1934 |[[Óscar Domínguez]], [[Dora Maar]], [[Richard Oelze]], [[Giséle Prassinos]], [[Kurt Seligmann]], and [[Brion Gysin]] joined the group. |- |1935 |[[Wolfgang Paalen]], [[Pierre Mabille]], and [[Jacques-B. Brunius]] joined the group. [[Hans Bellmer]]'s work was published in ''Minotaure''. [[Brion Gysin]] was expelled. |- |1936 |[[Joseph Cornell]] debuted ''Rose Hobart''. Though Cornell was influenced by the Surrealists and friendly with many of them, he never officially joined the group. Dalí's negative criticism of ''Rose Hobart'' further inspired Cornell to distance himself. |- |1937 |[[Kay Sage]] met Tanguy, and [[Leonora Carrington]] met Ernst. Also, [[Remedios Varo]] settled in Paris with Peret. |- |1938 |Breton had a falling out with Eluard but reconciled with Masson. Also, Breton met [[Frida Kahlo]] in Mexico; she is often called a Surrealist though she never officially joined. [[Roberto Matta]], [[Gordon Onslow Ford]] and Bellmer joined the group. |- |1939 |Dali was kicked out of the group for multiple reasons including his apparent support of [[Francisco Franco]], his commercialism, and his abrasive personality. Breton referred to him from that point on as "Avida Dollars", and the group essentially referred to him as if he were dead. Caillois and Hugnet also left the group. |- |1940 |[[Wifredo Lam]] joined the group. |- |1941 |Breton met [[Aimé Césaire]] in [[Martinique]]. |- |1942 |Breton, Duchamp, Ernst, Calas, and Carrington gained a following in [[New York]] with the publication of ''VVV''. Newer members included [[Dorothea Tanning]], [[Enrico Donati]], [[Charles Duits]], [[David Hare (artist)|David Hare]], [[Robert Lebel]], [[Isabelle Waldberg|Isabelle]] and [[Patrick Waldberg]]. Other artists directly influenced by the Surrealists in New York include [[Robert Motherwell]], [[William Baziotes]], [[Alexander Calder]], and [[Frederick Kiesler]]. |- |1943 |''The View'' published the poetry of 15-year-old [[Philip Lamantia]] who later became acquainted with Breton and others in New York. |- |1944 |Breton and Matta met with [[Arshile Gorky]]. Seligman left the group. |- |1948 |Matta, blamed for Gorky's suicide, was kicked out of the group. |- |1951 |In what was called "The Carrouges affair", [[Michel Carrouges]], a writer associated with the Surrealists, was found to be a practicing Catholic and was expelled. [[Maurice Henry]], [[Jacques Hérold]], [[Marcel Jean]], [[Robert Lebel]], Patrick Waldberg, and Henri Pastoureau were also expelled. |- |1954 |Ernst received the Grand Prix of the Venice Biennale and was subsequently expelled from the group. |- |1959 |[[Jean Benoît]] and [[Mimi Parent]] joined the group. |- |1960 |[[Ted Joans]] met Breton in Paris. |- </table> </blockquote> |---- |} ==See also== *[[Art periods]] *[[Western painting]] *[[Chicago Surrealist Group]] *[[Peggy Guggenheim]] *[[Fantastic art]] *[[Impossible object]] *[[Neosurrealism]] *[[Magic realism]] *[[Social criticism]] *[[Simulated reality]] *[[Visionary art]] *[[Bodley Gallery]] *[[Neo-Fauvism]] '''Techniques and humor''' *[[Surreal humour]] *[[Surrealist techniques]] '''Surrealist publications''' *''[[Acéphale]]'', a surrealist review created by Georges Bataille, published from 1936 to 1939 *''[[Documents (journal)|Documents]]'', a surrealist journal edited by Georges Bataille from 1929 to 1930 *''[[Minotaure]]'', a primarily surrealist-oriented publication founded by [[Albert Skira]], published in Paris from 1933 to 1939 *''[[La Révolution surréaliste]]'', a seminal Surrealist publication founded by André Breton, published in Paris from 1924 to 1929 *''[[View (magazine)|View]]'', an American art magazine, primarily covering avant-garde and surrealist art, published from 1940 to 1947 *''[[VVV (journal)|VVV]]'', a [[New York]] journal published by émigré European surrealists from 1942 through 1944 ==References== <references/> '''[[André Breton]]''' * Breton, André, ''Manifestoes of Surrealism'' containing the first, second and introduction to a possible third manifesto, the novel ''The Soluble Fish'', and political aspects of the Surrealist movement. ISBN 0-472-17900-4 . * Breton, André, ''What is Surrealism?: Selected Writings of André Breton''. ISBN 0-87348-822-9 . * Breton, André, ''Conversations: The Autobiography of Surrealism'' (Gallimard 1952) (Paragon House English rev. ed. 1993). ISBN 1-56924-970-9. * Breton, André, ''The Abridged Dictionary of Surrealism'', reprinted in: ** Bonnet, Marguerite, ed. (1988). ''Oeuvres complètes'', 1:328. Paris: Éditions Gallimard. '''Other sources''' * Alexandrian, Sarane. ''Surrealist Art'' London: Thames & Hudson, 1970. * [[Guillaume Appollinaire|Appollinaire, Guillaume]] 1917, 1991. Program note for ''Parade'', printed in ''Oeuvres en prose complètes'', 2:865-866, Pierre Caizergues and Michel Décaudin, eds. Paris: Éditions Gallimard. * Brotchie, Alastair and Gooding, Mel, eds. ''A Book of Surrealist Games'' Berkeley, CA: Shambhala, 1995. ISBN 1-57062-084-9. * [[Mary Ann Caws|Caws, Mary Ann]] ''Surrealist Painters and Poets: An Anthology'' 2001, MIT Press. * Durozoi, Gerard, ''History of the Surrealist Movement'' Translated by Alison Anderson University of Chicago Press. 2004. ISBN 0-226-17411-5. * Lewis, Helena. ''Dada Turns Red.'' Edinburgh, Scotland: University of Ednburgh Press, 1990. * Lewis, Helena. ''The Politics Of Surrealism'' 1988 * Low Mary, Breá Juan, ''Red Spanish Notebook'', City Light Books, Sans Francisco, 1979, ISBN 087286-132-5 [http://www.benjamin-peret.org/benjamin-peret/bibliotheque/carnets-de-la-guerre-d_espagne.html] * Melly, George ''Paris and the Surrealists'' Thames & Hudson. 1991. * Moebius, Stephan. ''Die Zauberlehrlinge. Soziologiegeschichte des [[Collège de Sociologie]]. Konstanz: UVK 2006. About the [[College of Sociology]], its members and sociological impacts. * Nadeau, Maurice. ''History of Surrealism'' Cambridge, Massachusetts: Belknap Press, 1989. ISBN 0-674-40345-2. ==External links== <!-- ATTENTION! Please do not add links without discussion and consensus on the talk page. Undiscussed links will be removed.--> ===André Breton writings=== *[http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm ''Manifesto of Surrealism'' by André Breton. 1924.] *[http://pers-www.wlv.ac.uk/~fa1871/whatsurr.html ''What is Surrealism?'' Lecture by Breton, Brussels 1934] ===Overview websites=== *[http://www.Surrealisme.nl Dutch Surrealism], *[http://nl.wikipedia.org/wiki/Surrealisme Dutch Surrealisme] on Wikipedia. *[http://www.cnac-gp.fr/education/ressources/ENS-Surrealistart-EN/ENS-Surrealistart-EN.htm Timeline of Surrealism] from [[Centre Pompidou]]. *{{fr icon}} [http://www.site-magister.com/surrealis.htm Le Surréalisme] *[http://www.Surrealist.com Surrealist.com], A general history of the art movement with artist biographies and art. *[http://www.surrealism-plays.com/ Surrealist-plays], an historical overview ===Surrealism and politics=== *[http://www.libcom.org/history/articles/Surrealism-politics/index.php The radical politics of Surrealism, 1919-1950], an article looking at Surrealisms connections to anarchist, socialist and working class politics. *[http://www.marcuse.org/herbert/pubs/70spubs/73surreal/arsenalindex.htm "Herbert Marcuse and the Surrealist Revolution"], an article from ''Arsenal/Surrealist Subversion''. *[http://arts.guardian.co.uk/art/news/story/0,,2044292,00.html "How the Surrealists sold out,"] ''The Guardian'', [[28 March]] [[2007]]. *{{fr icon}} [http://www.benjamin-peret.org/ Benjamin Péret]. {{Modernism}} {{Westernart}} {{Schools of poetry}} [[Category:Surrealism| ]] [[ar:سريالية]] [[zh-min-nan:Chhiau-hiān-si̍t-chú-gī]] [[be-x-old:Сюррэалізм]] [[bs:Nadrealizam]] [[bg:Сюрреализъм]] [[ca:Surrealisme]] [[cs:Surrealismus]] [[cy:Swrealistiaeth]] [[da:Surrealisme]] [[de:Surrealismus]] [[et:Sürrealism]] [[el:Υπερρεαλισμός]] [[es:Surrealismo]] [[eo:Superrealismo]] [[fa:فراواقع‌گرایی]] [[fr:Surréalisme]] [[gl:Surrealismo]] [[hy:Սյուրռեալիզմ]] [[hr:Nadrealizam]] [[it:Surrealismo]] [[he:סוריאליזם]] [[ka:სიურრეალიზმი]] [[ku:Surrealîzm]] [[lv:Sirreālisms]] [[lt:Siurrealizmas]] [[hu:Szürrealizmus]] [[mk:Надреализам]] [[ml:സര്‍‌റിയലിസം]] [[nl:Surrealisme]] [[ja:シュルレアリスム]] [[no:Surrealisme]] [[nn:Surrealisme]] [[nrm:Surréalisme]] [[pl:Surrealizm]] [[pt:Surrealismo]] [[ro:Suprarealism]] [[ru:Сюрреализм]] [[sq:Surrealizmi]] [[simple:Surrealism]] [[sk:Surrealizmus]] [[sl:Nadrealizem]] [[sr:Надреализам]] [[fi:Surrealismi]] [[sv:Surrealism]] [[ta:அடிமன வெளிப்பாட்டியம்]] [[th:ลัทธิเหนือจริง]] [[tr:Gerçeküstücülük]] [[uk:Сюрреалізм]] [[zh:超现实主义]]