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V
*
Sarane Alexandrian
EALIST
Copley Square
Saranc Alexandrian
was born
in the Faculty
in 1927. After
of Letters
Du
at the
graduating
Sorbonne
in Paris,
he studied
art
written a
art history,
He
and
as
has
is
the
He
ularly to a
WORLD
OF ART
This famous
series
would
like to receive a
complete
list
to:
81 A
In the
United
INC.
Printed in Singapore
101 10
reg-
SARANE ALEXANDRIAN
Surrealist
Art
is
Gordon Clough
it
shall
it is
imposed on
words being
subsequent purchaser.
English translation
'L'Art surrealiste'
A.D.A.G.P. Pans
Published in the United States of America in 1985
by Thames and Hudson Inc., 500 Fifth Avenue,
New York, New York o o
1
Reprinted 1997
Library of Congress Catalog Card
Number
85-50750
ISBN 0-500-20097-1
No
may
Printed and
bound
in
Sn gap ore
in
writing
Contents
Preface
CHAPTER ONE
Precursors
CHAPTER TWO
27
Anti-art
CHAPTER THREE
47
CHAPTER FOUR
60
CHAPTER FIVE
Towards a revolutionary
CHAPTER
94
art
SIX
119
CHAPTER SEVEN
The object
CHAPTER EIGHT
I40
I 5 I
CHAPTER NINE
In the United States
62
CHAPTER TEN
77
Surrealist architecture
CHAPTER ELEVEN
The post-war period
I90
CHAPTER TWELVE
21 8
Occultation
Biographies
234
Bibliography
243
List of illustrations
24$
Index
254
Preface
From
its
all
attempts to turn
it
influence
was so
fertile that
and
lets
poetic
"subjects", no "themes" in
my
image
literary,
it
because
it
who were
is
is
known
If surrealist
like
no
are
matter of imagining
that
which
art
avoided being
as the opposite
well-informed collectors of
technical innovations.
There
emerge....
painting. It
of
is
abso-
literature,
and
and
who
encouraged
its
To
constantly to protect.
the
be a
one had
surrealist,
title
first
murmur
raised a
to be granted
of protest against
personal in
style,
this
common
when,
was driven by
a surrealist
enterprise, he
played,
poetic climate.
From
1947 onwards,
myself was a
member
of the surrealist
group
artists
To
artists
with other
,^all
an awareness of
all
that
care about
my
is
his paintings.
painting,
itself,
if
many: the
its
It is
not
difficult to
much
a category of art as
of humour,
conclude,
if
its
it is not so
one of those living forces which imagination
CHAPTER ONE
Precursors
we
of fantastic
common
Surrealism has no
room
inner need
not so
it
art,
is
much
when
it is
all
its
the masters
ancestors.
elaborated without
who
have no connection
with
'the logic
artist,
whom
acknow-
Ingres,
for instance,
in Jupiter and
Thetis
(1811,
Aix-en-
which has
all
work of
Paul Delvaux.
art galleries,
but merely to
If
we
surrealists
authorities,
groups
was
we
visionary
art,
all fall
whom
whom
the
they regarded as
to surrealism,
which
art.
is
It
in a
sense a fusion of the principles behind each of these three forms of art.
show
mind's eye.
9
artists,
those
who
He was honoured by
Desecration of the
It
was
they were indifferent to the legend of 'Paolo the bird-lover', and to his
mania for perspective. Uccello freed painting from the slavish imitation of nature by giving arbitrary colours to animals, houses and
fields, and by arranging his figures as a function of a combination of
converging lines. These means also allowed him to endow reality
with a sense of
irrationality.
which he used
as
who saw
it.
paintings like The Battle of the Centaurs and the Lapiths (London,
Age.
Bosch, and
1,
angels transformed into dragonflies. All these are part of the heritage
ot
Gothic
art,
HIERONYMUS BOSCH
The Garden of
Earthly
(detail
Delights
c.
1500
of right
panel of triptych)
offers
feverish squandering of
words, by definition a
Regensburg
dawn
in the heart of a
in
the
German
altarpiece,
12
shown
Hans Baldung
and
surrealists.
Antoine Caron, the court painter of the Valois, whose job it was
to commemorate the festivities of the court of Charles IX, has a
place of
honour
Musee du Louvre),
in
(1
66,
victims and the bloody rage of the soldiers contrast with the smiling
ALBRECHT DURER
The Rape of Amymone
c.
12
1498
?->"'
Jh
j*.
h
F
r,
h
/
'
"i"M^
After antoine
>
caron Copy of
/
JH
*.
Bm
b
A^H
^sw
77><?
v|
^^L-*.
is
to great effect
who
play
4>J
||
GIUSEPPE ARCIMBOLDO
The Market Gardener
i
6th century
GIUSEPPE ARCIMBOLDO
The Cook
6th century
fifty
Exquisite Corpse.
Henry
who
dreams in which
was surrounded by unreal figures; his most successful picture in this
genre was The Nightmare (1782, Frankfurt, Goethe-Museum). His
taste for tragic lighting effects and his fondness for fairy landscapes,
where wyverns mingle with winged toads, redeem his over-literary
inspiration
most of its subjects were drawn from Shakespeare. The
poet-engraver William Blake was more openly a visionary. He had
genuine hallucinations during which he saw into the future and
lived in England, liked to paint
14
a sleeping creature
HENRY FUSELI
The Nightmare
1782
his
illustrations
Good and
to Dante,
he
brilliance.
and in the
surrealist,
works where
both
He
is
in the spontaneity
of line
it
is
the aerial
flotilla
in his
l3
FRANCISCO GOYA
Is there no one to untie us ?
796-9
The
through
his
Hugo
also
made
a contribution,
185
1,
had
set
up
art.
in Parts, he
to
evoke
castles
on
Often he used a
exile in
which
on
left
a blot.
blots
On
and
stains.
series
of etchings
of predclla
of Earthly Delights
the
Host 1465-7
c.
1500
made from
his drawings,
known
as th
Album
14
with
Towards
life
18
at Plougastel,
whose plans
for stained
GUSTAVE MOREAU
The Apparition
c.
1870-6
Hieronymus Bosch.
whom
A refined and
19
11
the
Maiden
1517
13
WILLIAM BLAKE
The Simoniacal Pope
c.
1824-7
Henri
//
the
(le
surrealists,
particularly in his
w as
T
a notable forerunner ot
exotic paintings,
w hich
r
always
20
own
14
ARNOLD BOECKLIN
The Island of the Dead
1880
15
forest at sunset.
although
claiming
to
be
an
expressionist,
goes
far
beyond
and
to primitive fears
such paintings
as
The
21
16-19
it is
possible to feel
The
cubists
specialists
in
The
shown
at the exhibition
art.
collection.
art.
They
as
of Ethiopia.
22
The
fact
is
i6
Eskimo
art
Salmon
In
17
it
was based on
Eskimo
art
Witch-doctor' s
drum
criteria
'Oceania
in
all
these,
ration.
What
the
surrealists
loved in
this
art
vitality to the
was the
deco-
fact
that
Arnhem Land
and
*3
19
Melanesian
art
Mask
Pueblo (Hopi)
art
Kat china
doll
of a Kararau clan
what
is
known, what
is
believed, while
seen.
America gave
them the opportunity of discovering American Indian art, which
moved them to the same enthusiasm as the art of Oceania. The traces
of pre-Columbian civilizations, too, evoked a 'lost world', and they
too were probed to give forth their meaning. Max Ernst and Andre
Breton, particularly, were captivated by the myths and drawings of
the North American tribes; for example by the Hopi of north-east
the surrealists spent in
24
which culminated
who were
the Katchina,
surrealists
please,
were the
first
is
to turn to profit.
a field of study
'9
which the
nor by material
irrepressible
of mystery and
tible reservoir
in the 'night
interest,
nor by
artistic
Mars
sick.
(1900).
her adventures on Mars, spoke Martian, and drew and painted the
20
AUGUSTIN LESAGE
Symbolic composition
signed
'Medium Lesage'
1925
25
20
who
guided him in
his
But the
surrealists attached
mentally deranged,
genius, once
mind.
the
it
more importance
abandoned
his father a
mason.
Wolfli. Wolfli's
He
mother was
fell
washerwoman and
From
being possessed
least cultured
he painted
tirelessly.
prey to schizophrenia.
when he was
At
first
thirty-one,
he painted scenes
naked the
But,
left
instinct
to
deform
art
reality.
would not have been enough to impose a new scale of values. The
realization that the lessons which they offered could be of value to
modern art had to wait for the appearance of the surrealists, a group
of creators who sought allies from the past to support their bid for
the recognition of the absolute rights of the dream.
26
CHAPTER TWO
Anti-art
freedom of
it
was
all
name of
the
total
The founders of
l^itterature.
Apollinaire
showed them
He
himself had
led
ally in the
vigorous
the
that
battle
of
in
against
we were
'If
we would
say readily
'orphism',
and published
(U Antitradition futuriste,
191
book on
3).
He
the
'futurist
antitradition'
new movement
saw in every
programme
191
7,
used
he used the
it
word
'
Mamelles
de
when
it
would be
put, for
he
first
18
put on
seemed
he spoke
Dermee
the
the
May
time. He
In
Les
that he
to
Paul
of lyricism'.
He drew
'Today drawing,
oil
contemporary
on no longer
lite
exist.
27
There
more
is
painting,
and there
is
National.'
The
first
contemporary painters
whom
whom
the
future
surrealists
the
futurism,
all
constructivism,
earlier
synchronism,
vorticism,
its
aims.
Faced with
He
all
these sects,
once said that 'every great artist has a feeling for provocation'.
Cravan ran a review, Maintenant, which he edited single-handed
example of
would be
less
suffocating.
The
values of this
'I
would
this painting. It
work
are arranged
the product
is
sphere.' Arthur
during which he
Cravan organized
fired a pistol,
show
in Paris,
rather
on
luminous
July 1914,
insurrection.
who
28
FRANCIS PICABIA
Portrait of Tristan T%ara 1920
his
poems.
c
of
to
in
of
it
as a disgust'
nothing but
country
at the
it
in a neutral
as a declaration ot
starting
Voltaire. This
a
29
21
dis-organizer,
was
a review, Dada, in
principles of derision.
thought nothing, and created only with the intention of proving that
was nothing. In
creation
mocking
attack
interesting
is
The thing
type.
on systems, Tzara
'Intelligent
that
that
we
is
man
has
rare because
it
Idiotic.
Dada is using
all
BILAN
crustace'e
la
parodie
la
et
A BAS
A BAS
touche
taille
paradis
met omit
qui
built
bmuc
priori
et
extraction de
les
li
paragraphe
et
bans
os
les
ou corridor
hamecons
tricolore
ta nombni on reveille
lim
senlis
iitatif
le
zz
nombril (sonde)
pour phosphore
la scringue
Uolllmgt
au
lr
les
bneoutt
gvnaailtqut
SUR BILLARD
baluiludt
astronomiques
chiffres
acclimatisees
gratuitement
AVANCE LA COULEUR EN LANGUE DIFFERENTE
vi v is e
EX -CAT APLASM
& 3
joli
fr.
50 ou 3
h.
PLAIT AU
ction
X
AMOUREUX
20 invincible niartyrologiste
bancs des
TAMBOUR
crepuscule
glaciers
22
TRISTAN TZARA
Page of Dada 1919
23
KURT SCHWITTERS
Interior of
Hanover Mer%bau
1925-36
its
Doing
And
is
deliberately.
Dada
filled its
life itself is
had
it
of
art as a
game.
monster which
casts servile
which
minds into
is
terror'
of Andre Breton.
To
achieve
advocated that
the
oil
destruction
painting and
wood,
and
of
art
artist protests
He
artistic
means,
He
Tzara
demands should be
he no longer paints
illusory reproduction).
in iron or in tin.
by
aesthetic
all
(this
is
only
which
TABLEAU DADA
Marcel
DUCHAMP
24
MARCEL DUCHAMP
and francis picabia
L.H.O.O.Q.
1920
25
MARCEL DUCHAMP
The Bride
stripped bare by
her bachelors, even
1915-23
M
DaJa
i,,
l<-
* n
amme
ie
c vows
*
;
t, <!*
D A D A
mats
<
e*l
ainsi,
tl>
vi-ukni
vitl
l)a,la.
64
84
reliefs
23
or sculptures.
Had
Picabia,
pushed
anti-art to
its
Duchamp and
Francis
would have
lb
26
MARCEL DUCHAMP
Nude descending a staircase, No.
II
1912
Duchamp,
memory
of an ephemeral
all
the result of
an exercise in meditation. In
fact,
24
convention to be exploded.
The
small
number of
pictures
which he condescended
to paint
like
a clock
brought
still life
to real
a painting
like
way he showed
life.
He examined
the effects of
movement of
Queen surrounded by
to Bride
(191
2,
(191
2,
New
Philadelphia,
APOLINERE
ENAMELED
9 *IZ
27
MARCFX DUCHAMP
Apolinere enameltd 191 6-17
.'
.,
iMim?7^7rrfitir-
35
26
MARCEL DUCHAMP
Chocolate
Grinder No. i
1913
on canvas, Tu rn
(191
8,
real
pins,
centimetre of tobacco
smoke and
paint
its
objects.
Some-
'Take a cubic
interior
and exterior
with
waterproof
paint.'
detail.
their
56
first
readymade,
Bicycle
wheel (191
^7
'
on
of
The
a paint advertisement;
Modern
Art) was a
window with
black leather
which he sent to
the committee of the 'Independents' exhibition, of which he was a
member, in New York in 191 7, was a supreme act of defiance, which
brought with it his resignation not merely from the committee but
also from that kind of art which is criticized and which is bought and
panes.
title
Fountain,
29
FRANCIS PICABIA
little solitude
(A
picture painted
to tell
to
and not
prove)
91
37
Duchamp
dissociation
Marcel
3
is
an operation.'
Duchamp accumulated
notes, drawings
in his Valise
2J
Museum
of Art). This
is
not, as
some people
think, an unfinished
He was
in search of
and beauty of
Duchamp 's
indifference'.
Bride
is
is
vitally important.
as 'painting
of precision
starts
new machine
moment she is
ambiguity. He does
that a
MARCEL DUCHAMP
Valise 1942
3*
FRANCIS PICABIA
Optophone 191
this to
aimed
such
(?)
effect that
at the cult
it
is
not possible to
of the machine or
tell
whether
The
is
He developed
maximum use of
at physical desire.
his satire
comprising, above, the Hanging Female Object (or the Bride) and
'gas'
is
form
ot
nine Bachelors.
to-and-fro
him
as a referee to decide
who
this
59
28
(ititlftrmr*)
32
max ernst
33
40
man ray
the
kM"*t
'tnatut
man 1920
leaps.
was
huge
first
exhibition in
would
rather be than a
success,
man
of inexperience.'
When
he painted
Seville
(191
New
2,
Spring (Philadelphia,
at the
New
Armory Show
York, he
won
Museum
in
New York
in 191
3.
the
Edtaonisl
he
moved
sometimes
engineering
humorous additions. In
review 391, in which he kept up a
drawings
with coloured
29, 34, 3 J
with
24
balls,
31
(U Athlete
et
des
Picabia
last
in
4'
21
FRANCIS PICABIA
Amorous
'Friday'
was
under the
who
Procession 191
a poetry soiree at
title
newspaper
article,
drew
in
art.
Premiere Aventure
by
Picabia.
The
instead of behind
celeste de
set
-
M.
was made up of
and picture
in the
At
show
the last
moment he had
His Manifeste
monkey
to be satisfied
cannibale, read
fastened to a canvas.
with
by Breton dressed
a toy
plush monkey.
as a
sandwich man,
42
Dada on May
enamel,
made
knew no
limits
and dressmakers'
Rastaquouere
like Unique
('Jesus
Christ
the
Adventurer'),
Many
Dada
surrealist principles
period.
were
36
Fataeaea 1020
and
seriously.
etc.),
papillons,
man ray
^ *
wall
stickers,
Legend 1916
^^
43
appeared
first
in 1920.
is
surrealist journals.
we
on a
burst in
lecture
by the former
futurist Marinetti,
The
dadaists
who was
trying
to launch 'tactilism', a
to
Les Maries
loathed,
32
37
view.
)},
36
Man Ray
had arrived from the United States preceded by a consiHe had painted abstracts recalling those of
Duchamp and Picabia - sometimes using a spray gun. He had made
derable
reputation.
and above
he had published
New York
Dada, in association
with Duchamp. In December 1921 the poets of the Litterature group
assembled his works at Librairie Six, Soupault's bookshop in the
all
Avenue de Lowendal, and sent out this invitation 'No one knows
any longer where M. Ray was born. After having been a coal merchant,
several times a millionaire, and chairman of the Chewing Gum Trust,
;
he has
44
now
J8
FRANCIS PICABIA
Cover
LIT5
JOURNAL TRANSPARENT
Administration: AU
37. Avenue Kleber
SANS PAREIL
.
PAKIS
numrro
PRMDMEL, V.n-
Callabore * c I"
I'.inl
icni
BON
KLI'AHD.
1h.
HUlDOMn.
Btniimin
Mattel
mm
II.RKT.
naEMONT-oesuyaMn,
SI-.LAVV. f'h.lippe S(H
erik satie.
'FAULT. TriJUn IZARA.
ftSt
in
fijorut.
i< Jir
39
barbe 1922
RATURES
the
work in Paris.' When the public arrived for the private view,
room was full of toy balloons, which completely hid the paintings.
At
his latest
yells
his heel
Tzara amusing.
people
is
to
burn
away from
He
the
of
fuel.
movement because he no
Duchamp
Picabia spun
longer found
He
set
an example himself
of strange objects,
and
stairs
'This
summer
all
what
4^
(XV1-)
about you?'
'Dada
is
satisfied
with
this
kind of manifestation.
with varying points of view would try to define the various trends
of the
Modern
which we
He wanted
Spirit.
Modern
modern,
call
Spirit
is
debates
on questions such
more or
a top hat
less
'Among
modern
as
objects
than a
who
by
39
anti-art,
swan-song.
On March
$8
which
Do
not
life,
let
Do
in
up
conventional.
Do
not seek
and have no
new
banner. Francis
yourself be shut
become
has
speculation.
from
programme
its
official glory.
in a revolutionary school
not
allow
Draw your
commercial
inspiration only
continued movement of
intelligence.'
some
who
artists
Ray,
Duchamp, Arp
Picabia,
to
life
were
as
good
as
Dada'. These
artists
were to nurture
a constant
which was
surrealists.
46
CHAPTER
1.
I.
As soon
as
Rue
as rapidly as possible,
manifestations.
When
at the
Centre Neurologique
had become interested in possible methods of regenerating psychology on the basis of data provided by psychiatry. It
was his ambition to make poetic language into an exploration of the
unconscious. In this he based himself on the ideas of Sigmund Freud,
who was at that time not appreciated in France, but whom Breton
in Nantes, he
visit
him
in
made of what
possibility
the
techniques
show
of automatic
The
that the
writing
to
exhaustion, as
is
little
kind
de
reves (1924).
Breton
sets
'a
kind
which today
is
very
difficult to delimit'.
Les Mamelles
new and
strictly
when he
now
described
took on a
experimental meaning.
hymn
and
He struck up an
where men could
in literature.
them of
man
life ;
let
:
enthusiastic
find eternal
'Perhaps childhood
is
the
was not
This world must
it
Breton wanted
most
eschew
all
to.'
And
flora
to humanity's
of surrealism are
form
secret longings
He
image.')
universe.
which
48
super-reality. Surrealism
but as a superior
The
reality, in
which
as in a
all
as fantasy,
afflict
dream.
message, and his impetuous, brilliant insolence, were sure to win over
who, evei faithful to his maverick course, still believed that Dada
would be resurrected, and scoffed at the new movement in 391: 'There
is only one movement, and that is perpetual motion'. He invented
'instantaneism' as a game, and when he wrote the libretto of Keldche
in that same year, he baptized it an 'instantaneist ballet'. Shortly
afterwards, Picabia retired to the Chateau de Mai, built to his
life
own
between
painters
who
together to
protest
malpractice.
They
against
intellectual
affirmed the
rights
privilege
They banded
and
intellectual
mind
to be
open
From
to
this
life
from being
sought
its
or inventions,
so as
to
49
40
surveys
love
c.
1933
suicide a solution?';
('Is
forced
?' etc.)
its
cliches.
The
is
new
it is
not a
poetry;
down the
is it
total liberation
We
statute. 'Surrealism
a metaphysic of
men's habits, but we have hopes of proving to them how fragile their
thoughts are, and on what unstable foundations, over what cellars
they have erected their unsteady houses.'
included
three
painters,
the
first,
The
twenty-six signatories
chronologically,
to
join
the
50
42
41
brotherhood of
their imagi-
'The winged vapour seduces the locked bird'; 'The strike of the
stars
would
40-42
43
PABLO PICASSO
Portrait of Andre Breton
fragment.
How many
evenings
we
draw
a figure fragment
by
It
it
as
'the
('Enchanted Eyes'),
had
S2
to face
when
Max Morise
Yeux
enchantes'
which painters
surrealist painting.'
arts
anathema of art,
by the passion that the surrealist group had for the
cinema. Films like Nosferatu the Vampire and The Student of Prague
were to be the models for a 'fascinating' style, which the surrealists
considered that painting was not yet able to attain. Man Ray, who had
scenes. This negative attitude, a relic of the dadaist
was
justified
'myograms', said
de la raison, 1923)
time
at this
on the same
'The cinema
is
principle
a superior art
is
The
to
first
become
rather later.
active
himself to saying
'Picasso
is
and Man Ray had not entirely freed themselves from the dadaist spirit.
Only Miro was genuinely representative of surrealism. Pierre Roy, a
friend of Apollinaire, had first been interested in fauvism, and had
then flung himself into the evocation of 'everyday marvels'; he did
dream
of random objects in an
His part
attic.
4}
evoked by a collection
the movement was episodic,
like those
in
53
44
44
PIERRE ROY
Danger on the
who
tried to turn
him
Surrealist painting
who
owes
by him
into
his
initially; Pierre
own
stairs 1927-8
Roy
Max
whose example
him
received powerful creative impulses from his paintings. For his part,
Chirico
owed
although he always
critics
had ever
understood his work. Had it not been for the revelatory illumination
which surrealism cast on his fertile period from 191 1 to 191 8, this
period would still be regarded as a part of 'metaphysical painting'
(Pittura metafisica), a loose concept
that Carlo Carra
54
it
different
so by the fact
meanings, and
45
GIORGIO DE CHIRICO
The Brain of the Child 191
They even
latter
and one
whom
men
in Chirico
one
his
whom
two men
so that the
The
Chirico
whom
the
humour,
surrealists
adored had
all
the
poetic
the intolerance
Athens, Chirico
left
Greece with
his
4h
J7
where he became
a student of art.
He
him
influenced
greatly.
From
1909 to
191
who
46
moved
d'ltalie.
where he made
himself known by showing three pictures in the Salon d'Automne,
and painted desolate cities and arcades. He soon became a regular
attender at Apollinaire's Saturday soirees. Apollinaire was at that time
In 191
he
to Turin,
and then to
Paris,
the only one to hail the innovation of his painting. In 1914, Paul
first
dealer to
buy
his
work and
from the
to give
his
him any
Montparnasse
rear, a furtive
shadow, the
were
46
GIORGIO DE CHIRICO
Melancholy 191
56
47 GIORGIO DE CHIRICO
The Philosopher's Walk 191
GIORGIO DE CHIRICO
The Disquieting Muses 191
He began
to
He was
wound
of 191
47
49
8.
to
191
8.
colours became
in
more
intense,
and
his
The Disquieting Muses and Hector and Andromache (19 17, Milan,
57
4*> J?
Fondazione Gianni
Sonietimes he included a
Mattioli).
map
or a
mentary
illusion.
who would
sit
and
listen for
made
hours in a concert
have stood up to
this
silences.
He
holds
breath and
or
its
some
Any one
suggested
moment
describes the
is
He
hall.
is
the painter of
some portent
on the threshold of the
conceal the alarm and curiosity
and harmonious
is to come.
lines
aroused by what
was harmful
ground
to paint, he
slowness.
own
his
with
his
colours,
calculated
could find in
this
he put on an exhibition
surrealists
at
When
the
he returned to Paris
Galerie
Surrealiste,
Rue
included
all
window
paintings.
Jacques-Callot,
Aragon wrote
in
February
owned.
in
1928.
1926
at the Galerie
In
this
they
parodies
pamphlet called Le
58
in
of his recent
Yeuilletcn
change
which he wrote
'One has only to see the latest work of this painter who
- and a wonderful theatre - of everything great in
the world, the reflection of everything unknowable of the whole
epoch, to realize how few rights the maker has over his earlier visions.'
Chirico had complained that the title of one of his earlier works had
indignantly
was the
theatre
been altered in
titles
La
Revolution surrealiste;
to the eighteen
Although Chirico
Contemplator of the
works on
Aragon
defiantly gave
new
exhibition.
(1925,
Paris,
former inspiration
private
in
collection),
The
The
so
perfectly
surrealists
appearance of his
novel Hebdomeros in
at
random
1929.
Hebdomeros is a
city whose
an indefinite
in
Hebdomeros
stands at the
window
When
street, he discovers that 'It was still only the dream, and even a
dream within the dream .... What we have to do is to discover, for
by the act of discovery we make life possible, in the sense that we
reconcile it with its mother, Etemitj.' This proposition was in accord
else,
and which
unknown
insisted,
worlds.
49
GIORGIO DE CHIRICO
Premonitory portrait
of Apollinaire 1914
59
CHAPTER FOUR
was
to give a decisive
1928,
answer to those
Andre Breton's
who
still
doubted
the existence of surrealist painting, or who did not fully realize what
freedoms it should claim for itself. He immediately broadened the
it
window
concern about a
there
nothing
is
is
love so
much
as
it
find
'I
my
it
first
and
reproduce a more or
man
is
able only to
less felicitous
him, painters have been far too conciliatory in their choice of models.
Their mistake has been to believe either that a model could be derived
only from the exterior world, or that
at all ...
This
is
it
plastic arts
are to
To
attitude of
lions,
arts.
He
much
To recognize
everything ....
what
is
What
nothing.
importance to
up
and Derain,
'a
great
what they
60
5Q
MAX ERNST
At
Rendezvous
the
Friends
of
1922
Rene Crevel,
Max Ernst, Dostoyevsky, Theodore
Fraenkel, Jean Paulhan, Benjamin Peret,
Seated from
left to
right
Max
Morise,
Raphael,
Paul
Eluard,
5i
MAX ERNST
Self-portrait 1922 (detail
of pi. jo)
At
the
Litterature
group
led
him
full
of ferocity and
state.
As
a child he
had seen
in the
61
jo, Ji
52
MAX ERNST
Two
children
are threatened by
a nightingale
I9 2 4
pattern of a
mahogany panel
he
fell
When
in his
bedroom
'a
huge
bird's
asleep, a transparent
woman
work. These
91
like filigree
60
head with
Rex
62
53
MAX ERNST
Le start du
chdtaigner
1925
&
54
MAX ERNST
Conjugal diamojds 1926
63
55
MAX ERNST
The Virgin spanking
three witnesses
and
the artist
Andre
Breton,
Paul E/uard
1928
56
MAX ERNST
Pietd, or the Revolution by night
1923
New
York,
Museum
He
placed a
piece of paper
obtain a tracing.
became
clear
He brought
J4
61
64
57
GIORGIO DE CHIRICO
Hector and Andromache 191
as automatic writing
from
He made
from floorboards
as well as
a spool, the
frottages
from
sorts of materials
all
unwound thread
He also used this
by placing
by saying
'The
it
on
rough
surface.
He
justified this
its
development.'
technique in
Carnal
technique
or impassioned, at
use
ot
this
(1926),
and
moved him
65
^;\t^
58
andre masson
tf///f
0/ Fishes 1927
//
The
his
'artist as spectator'
66
knife.
From
showed
form of myth.
he announced wildly
to give this
When
:
'I
will
make
in
He
tried
As painting
1927 he began making pictures
sacrifice.
59
ANDRE MASSON
The Great T.ady
1937
67
62, 6$
dS?
60
68
shall
know
nothing of
it
1923
with sand. The gesture with which he scattered the sand over a glue-
;-8, J 9> 6
to 1936, his
his
some
dealt
figure. All
66
19
In the
69
231
ANDRE MASSON
Furious suns 1925
63
'J~0J.Eii<i
Fi/fU'EUX,*
ANDRE MASSON
Automatic drawing, ink 1925
70
64
JEAN ARP
Automatic
drawing, ink
1916
may be
He
is
a passionate inter-
Modern Art), he felt that he had come to a dead end. Then in the
summer of 1923, when he was on one of his visits to his family at
of
Suddenly
and
At the time
like plants
Rafols
'I
its
reality
eyes
yielded place
and cocked an
to the imaginary
ear,
the
seashells.
confess that
am
to his friend
that
is
felt
is
accentuated
still
further in
65
72
in the wilderness
T94:
66
andre masson
O/e'e
(1924),
Gradiva 1939
and particularly
in
Albright-Knox Art Gallery). This is an extraordinary fancydress ball, where not only human beings, but also animals and
everyday objects, are wearing masks. An entire landscape has put on
Buffalo,
a disguise.
'Should
Miro's exhibition
at
ot
the
go
to see Picabia or
'Picabia
is
already the
future.'
The
invitation
was signed by
all
1925
the
was an
members
Benjamin
Peret.
The
great success.
From
this
He
played a wild,
game with
signs
73
70
enough
68
for
him
Head of Catalan
New
Museum
of
Modern
Dog
York,
howling at the
produced
his
work with
He
used
all
materials
He
painted as
and techniques
71
67
67
JOAN MIRO
Dutch
1928
74
interior
he had seen in Holland, such as The Cat's Dancing Lesson by Jan Steen.
Various Imaginary portraits (1929) include a Portrait of a Lady in
1820, after Constable. In 1934 he began his 'wild paintings which
make monsters
'surrealist'
crisis
Breton wrote
arise'.
of us
all'.
Until 1937,
to paint
it
from
Still-life
with
a short
Grande Chaumiere,
old shoe (James Thrall Soby
life at
the
finest fireworks
of
surrealism.
It
are
several
periods
in
which
his
supreme guide.
moral conduct,
it
Le
'If
development approaches
first
showed
a real interest
this, I
am
setting very
severe standards.'
1,
75
73
74
p/
J\
_ [0y/i /
76
JOAN MIRO
Olee 1924
<
69
ANDRE MASSON
Fish drawn
sand
the
in
1927
New
a
irrational
took
rational
its first
(c.
and
his
sand
to be
more
930-1,
which
a surrealist
far
west
was
He
7i
JOAN MIRO
Man and woman
1931
Gf-wr
^V^
72
JOAN MIRO
Drawing 1924
78
A.
73
Portrait
JOAN MIRO
of a Lady in 1820
1929
and
his sea-inspired
dreams of adventure,
his
memories of
the Breton
beaches, and his Celtic background were the reasons which prompted
which reigned
Tanguy
in 1924
there.
started
Daragnes and Vertes. His first painting was of the wall of the Sante
prison, done in the manner of Chirico. He had caught a glimpse ot a
Chirico painting in a gallery window from the platform of a bus, and
had been dazzled by it. He met Robert Desnos in 1925, and was
introduced by him into the surrealist group. In 1926 he painted The
Storm (Philadelphia,
which he
is
Museum
different
airy
79
81
7J
74
7/
air.
He came back
-8
%
80
to earth
mad
sprites
forms in the
invisible.
He
he never
felt
receded
titles,
Tanguy was
the Watteau
75
76
PABLO PICASSO
Woman
1930
77
PABLO PICASSO
Woman
bather
1932
82
bather, seated
78
YVES TANGUY
The Kapidity of Sleep
1945
of surrealism
roles of
and
'fetes
galantes\ in
Arp came to Paris and moved into a studio in the Cite des
Rue Tourlaque, where among his neighbours were Max
Ernst, Paul Eluard, and later Miro. He began to write poems in
French previously he had written in Alsatian or German. Arp was
In 1925
Fusains, 22
man
When
window
panes
on would seem
to be
Then he
On
a
wooden
had created
hut,
and put
a picture
on
frame round
it.
the 'landscape' he
a rural scene.
During the
79
JOAN miro
Portrait 1950
8o
yves tanguy
Infinite divisibility
1942
Dada
period, his objects set the public bv the ears. There was the
Glove
(le
of,
his
Navel
Bottle,
8i
YVES TANGUY
The Storm
1926
83,84
In 1926 he
82
Taeuber.
left
He went
Paris
and
set
up house
at
Meudon
with Sophie
human
head, the
he showed
demands of
86
contrary,
all
standard
scale.'
relate
man
everything to his
should be
own
like nature,
stature.
On
the
sensuality.
But he was
Claude-Andre Puget,
him
JEAN ARP
Chinese Shadow
1947
87
mmmmmmm-m.
m-
83
JEAN ARP
Configuration
1930
88
GEORGES MALKINE
Howe
The
of
Erik Satie
1966
Shortly
left
America
live in
for the
South
Seas,
in 1949.
composer
shows.
began
to practise
activity
photography
means
Man Ray
sometimes, in
objects,
to earn a living
sell,
'myograms',
is
into a poetic
it
'This
my view
is
He
has
which
in the
dark on a sheet ot
89
86, X;
combination
of
light.
The
objects placed
on
is
delicately graduated
effect is absolutely
kind of technique/
unique to
this
drawing
He worked
rudimentary equipment.
Indeed,
in a
of a view,
it
as I
'I
it is
better to take
my
it
handkerchief from
as I wish.'
He
my
pocket, twist
that of
at a
moment when
demonstration of the
lights, is a
Man Ray
art
the sitter
of giving
full
began to do nudes
Duchamp made
He
cast
readymade.
all
He
Oppenheim,
naked, with one raised arm covered in black ink, behind the wheel
of an etching press,
Starfish
aimed
90
justly
stage further.
vatory
is
Time,
One
the
his
(1932-4,
New
York, William N.
Copley
86
MAN RAY
Promenade 1941
87
MAN RAY
Kayogram 1927
-iBh
s^^-
MAN RAY
Drawing 1938
91
89-91
Semaine de Bonte ou
les
from
the
beliefs
they
reflect.
'Collage
is
supersensitive
and
amount of the
possibility of
human
is
happiness
any period', said Max Ernst. His visual novels form a fantastic
mythology whose hero is Loplop, 'Superior of the Birds', one of the
best of his hallucinatory fantasies. One consequence of collage was
that surrealist paintings of this period took on the form of painted
collages those of Emile Savitry, before he went over to photography,
are an example. Even Rene Magritte and Salvador Dali, when they
were starting their careers, made the content of their paintings
conform to that of collages.
at
92
89
MAX ERNST
The sap
9i
MAX ERNST
Lop/op and
the
mouse's horoscope
1929
rises
1929
CHAPTER FIVE
From
The previous
year the
movement
them
'the point
of view
membership,
whom
who
its
his Second
still
have
some concern about the position they occupy in the world hope to
from the surrealist experience?' he wrote scornfully. The
target he indicated to his friends was revolution; dialectical materialism now played the part which had previously been taken by
gain
psychoanalysis.
The
tariat
surrealists
and
wanted to help
in the
prepared to
sacrifice
review Le Surrealisme au
at this
to
persuade organizations
art
this
is
94
It is
by definition
free
'Artistic imagi-
from any
fidelity to
The work of
aim,
if it is
art
not to cease to be
itself.
We put
whose
its
latent content
We
practical
forward, in opposition
is
the fact
stress
as this extends
beyond
true
While
in public
artist,
he urged his friends not to give way to any desire to please; the
Second Manifeste
is
firm
confusion
is
on
this point.
The
all.
to be avoided.
to
declare
ultimate conclusion,
its
:
'Le surrealisme,
it
and
to take
He was
later to
this advice,
was Salvador
Dali.
new dynamism
into the
movement. From the other point of view, had Dali not had the
framework, the propitious climate which the group offered him, his
personality would not have developed with so much brilliance.
Initially his eccentricity
child.
who
put
that of a spoilt
all his
hopes
in
An
him
a king's
costume;
wearing his crown and his ermine cloak in the wash-house he used
as a studio, Dali gloried in the idea that everything was permitted
him. He went to the Escuela de Bellas Artes in Madrid in 1921, and
became known for his extravagant clothes and his stubborn insistence
on doing the opposite of what everyone else was doing. For this
he became the hero of a group of 'ultraist' students, who included
Federico Garcia Lorca, Luis Bunuel, and Eugenio Montes. He was
expelled from the school for protesting against the appointment ot a
professor, and even imprisoned for a few weeks. When he was
released he became even more wild. But his dandysme led him only
to futile actions, like soaking banknotes in whisky, and his painting
was merely a series of stylistic exercises ranging from futurism to
cubism.
95
With Blood
is sweeter
where he met Miro, who introduced him to the surrealists, and who
abandoned his usual silence long enough to say to him
'The
important thing in life is to be stubborn. When what I want to say
in a picture won't come out, I bang my head against the wall until the
blood flows.'
When he returned to his family's house at Cadaques in 1929, Dali
set out to paint a picture which would be a kind of manifesto. He set
up his easel at the foot of his bed so that he would have the image
before his eyes as he fell asleep and as he awoke. At this time he had
a visit from a surrealist delegation - the dealer Camille Goemans,
Rene Magritte, Paul Eluard and his wife Gala. They were taken aback
by his appearance - he was wearing an imitation pearl necklace, a
bracelet, and a shirt with flowing sleeves - by his sudden outbursts
of hysterical laughter, and by the scatological violence of his picture,
whose principal figure was a man in shit-stained underpants. Eluard
:
92
96
93
gave
Persistence of
Memory 1931
was Dali's
first
surrealism.
There and then was forged the union between Dali and
step, at the
going
'Every good
painter
first
of
way he worshipped
who
all
inter-
marry
my
wife.'
wanted
madder than
lunatic,
97
94
Salvador dali
Dancers,
lion,
horse... invisible
1930
95
SALVADOR DALI
Hysterical and
aerodynamic
female nude
1934
98
more noble than an aristocrat, more academic than the most conven
tional of painters, more refined than a sybarite, and so on. So he
became more surrealist than the surrealists, and sowed paradoxes in
their very beliefs. Dali was the product of a synthesis of everything
the movement had acquired, but his determination to 'crctinize' the
public (a reminder of Dada), his 'cannibalism' (a reminder of Picabia),
and
bad
taste (a
else in the
bad
taste
'1
force
of the age'),
He brought
for
When
in 1930,
96
SALVADOR DALI
The Ghost of
Vermeer van Delft,
which can be used
as a table
1934
99
'paranoiac-critical method',
artist
could obtain
which,
if skilfully
is
basis,
Thanks
to this 'spontaneous
method
critical association
of phenomena which lead to delirium', the painter will act and think
as if
aware of what
is
remaining
images of
this
IOO
Salvador DALi
make
the
97
fully
98
c.
1934-6
IOI
99
SALVADOR DALI
The City of Drawers
1936
100
SALVADOR DALI
Gradiva 1932
I02
IOI
SALVADOR DALI
Sleep
93 7
in
general'.
man
image, the
man
in this case
first
being also a
Museum
of
Modern
'soft watches',
Art),
lion,
horse...
invisible
Persistence of Memory (1 93
where time
is
(1930),
New York,
5/2
93, 9/
defined
its
thus
'The
instantaneous
anamorph',
'psychic
and
woman
its
reconsti-
Example
refraction
of masochistic memories'.
behind
it
He
tore off
discovered
soft
world
which
was
subsiding
or
103
92
9S-100
102
:_..
-.-?".>
^||^%.%
"
V,
-"""
"'S^
^^f^
\
SL-^_^
-^p
Jj^S
B^^S^I^Jt
^
^
^
safe*
102
01
Salvador dali
is
whom
he compared
melodrama of The
with food which drove him to paint Gala with two raw cutlets on
her shoulders gives an authentic flavour to paintings like The Weaning
of the Furniture Food (1934, Cleveland, A. Reynolds Morse collection),
in which he espies through an opening in the body of his nurse the
104
of carnivals.
were such
The accumulation of
opportunism, led to
his
and organizer
which
surrealist.
He went
this did
to live in
New Man
end of
which he
like
(1943, Cleveland,
the flight
of a bee
Homer
(1945), in
sensations
of the blind'.
Even
so,
in
the
surrealist
is
'mystic'
96
still
period which
be made out.
painters.
103
bunuel and
SALVADOR DALI
luis
Skeletons of bishops
1930
105
101
9J
art,
10/j.
dreams (1929).
fittings,
surrealist period
included a series of
'affective'
sculptures
which
104
A.LBERTO GIACOMETTI
106
He
io 5
ALBERTO GIACOMETTI
Suspended Ball or the Hour of Traces 1930
106
ALBERTO GIACOMETTI
The
Invisible Object
1934-5
visualized each
work complete
formulated, he executed
it
in his
this vision
was
Gomes
and sometimes
plastic
images
07
/oj
107
ALBERTO
GIACOMETTI
The Palace at 4 a.m.
1932
107
106
New
York,
4 a.m. (1932,
Paris,
Musee
sculpture
fit
into a matchbox.
During
this
period
of revolutionary
preoccupations,
which
who
One
of those responsible
08
did not
come
imprisoned in a hand-shaped cage. In 1935 he did his first 'decalcomania', by laying a sheet of paper on top of another covered in black
gouache, rubbing
sheets
at
when almost
random with
dry.
the
among whom
it
his
possibilities.
He
OSCAR DOMINGUEZ
Decalcomania 1937
109
108
$*+$
109
a 'cosmic' period
Future
119
tation.
less
and evoked
His 'concrete
extra-terrestrial landscapes
irrationality'
and belonged
surrealists
He had
in
is
of marks
left
Germany and
Italy.
He
on
murky
his
youth
composition
beings in
first
forcing inspiration'
10
as in
fine,
travelling in Austria,
Memory of the
matism, had a
the
He
joined the
'new method of
a surface
by
of handsome
landscapes
a candle flame,
1938).
Brauner,
no
VICTOR BRAUNER
Self-portrait
1931
VICTOR BRAUNER
The L-ast Journey
1937
immediately
set
own
heads.
When
human
ll6
12
"3
VICTOR
BRAUNER
The Triumph
of Doubt
1946
One
eye, while a
fingers.
separate
On
two
in
by
112
its
no
a bottle
IT
111
ii4
VICTOR BRAUNER
Totem of wounded
subjectivity
1948
Two wicked
the
'little'
Victors stop
VICTOR BRAUNER
Victor Victorios crushing
the casters of spells
1949
The
for
and
violently pulverises
those
the
who impede
triumphal march of
its heroic
114
exploits
d^/y 00
VICTOR BRAUNER
The Strange Case
of Monsieur
1934
him
left
his
powers of clairvoyance,
He
treatises
spirit
of
with their mysterious apparitions in the dusk (such as The Inner Life,
1939),
he began to
make
extraordinary pictures
in
wax, which
114,
which had
rarely
artists
who
When Hans
this
in
115
120
in
which they longed. This was a love-hate object, symbolizing all the
which the female body inspires and all the rejections of
the real world. The Doll was born as the result of Bellmer's revolt
against his father and against society. In Berlin, where he lived, he
worked as an industrial designer. For his own amusement he drew
sketches of little girls, and of tiny scraps of waste which he picked up
fascination
Max
his
an
artificial girl.
In 1933 Bellmer began to build his Doll with, the help of his wife,
brother and a young girl cousin. Initially it was composed of
117
HANS BELLMER
Landscape 1800 1942
Il6
n8
HANS BELLMER
Vanity 1963
whose
at this time,
barrel
is
of grace, a weapon
a clear indication of his intention
a female body,
is
in a state
made
new
photographs he took of
prose
this
in a
Then he
ball'.
The
de la poupee (1938).
117
dissected
117,118
instance, in
integrally
and
in the
form of an
is
a visual synthesis
of the curves and surfaces along which each point of the body moves',
197
V image
de
and mysterious
(1957).
trace
brought up. The first among these is 'convulsive beauty', the beauty
which results from a sharp conflict between movement and immobility, and which implies an extreme tension of the being, and a
delirious agitation kept secret or compressed by circumstances.
Breton has given as an example of this a locomotive abandoned in a
virgin forest.
total
is
is
the
of poetic terrorism.
The
its
tragic undertones,
it
sum
'black
is
it;
on
constitutes a kind
is
a result
demanded
that the
118
exalt
c;
PTE
SIX
From
1935 to 1938
led a vigorous
at 'the internationalization
of surrealist
ideas'.
avant-garde in
many
countries
showed
that the
Paris
group was
long
before
question
Yugoslav
'Is
humour
surrealist
wrote an open
letter to
painter
in
119
the
woman
In 1926, the support which Magritte got from the Galerie 'Le
Centaure' enabled
him
to take
123
first
in Paris,
of a mineral hardness.
In
The
Passer-by
(1929),
cloud-flecked
sky-blue
silhouette
always valued.
He
'object lessons',
strange.
He
gement of a
a
and used
telling
detail (an
on the following principles enlarimmense apple or rose filling up all the space in
based himself in
this
122
leaf-tree, the
1 28
(the shoe with toes, the dress with breasts), the mysterious
mountain-eagle,
etc.),
opening
door swinging open on to an unexpected view), material transformation of creatures (a person made of cut-out paper, or a stone bird
flying above the rocks of the seashore), and anatomical surprises
(the hand whose wrist is a woman's face).
(the
OSCAR DOMINGUEZ
Los P or rones 1935
120
HANS BELLMER
Doll 1936
(Cast in aluminium, 1965)
121
as possible
to bring
an object
tation
at
him
object,
it.
This confron-
day he saw
moved by
One
an image of a young
over her hands.
woman
eating a live
121
122
Magritte
is
a painter of revelations.
what
is
is
revealed to
him by
its
his attentive
He
transmits
contemplation of
reference.'
He
it.
This picture
is
clear.
Every one of
his paintings
problems, but
sets
He
is
new
solutions to old
all
the
The Rape (1934) and The Amorous Perspective (1935, Brussels, Robert
Giron collection) were the first masterpieces of this wholly committed
123
**4
Rene magritte
123
style.
to
give
maximum precision
From 1940 to 1946,
paintings.
described as
sionists,
'full
to
Towards
life
96
is
medium
to another.
(La folie
des
1 -6)
this,
he had
He showed
Manteau
group exhibition at the Palais des Beaux-Arts, he
was deeply impressed by works by Chirico and Magritte. He set off
on a parallel road, and first broached the style which was to become
paintings in this style in his
in 1926.
124
But
at a
first
his
own
in Procession in
clothed
a rose
Delvaux
visited Italy,
where
and for
his
women
the
town (1940) and Entrj into the town (1940, Brussels, Robert Giron
collection),
austerely dressed
24
scenes
When
man who
he brings
125
RENE MAGRITTE
La
126
RENE MAGRITTE
La
1967
if a
pictures
is
the
127
painter himself, The Echo (1943, Paris, Claude Spaak collection), Iron
Age
(195
succeeded in
and in giving
of the
Ostend)
1,
all
women
his anxieties
and
all
his
has
IjO
best
antiquity,
127
of his dreams.
album
about
this
who
5,
published an
and
who trom
relief effect
to sculptures in slate
his
surrealist period.
142
128
rene magritte
Nwfc
128
I2 9
RENE MAGRITTE
The
the
Man
Bowler
in
Hat
1964
group from Halmstad, a Swedish Baltic coast town), which was led
by G.A. Nilson, and included the painters Stellan Morner, Erik
Olson, Esaias Thoren, Sven Jonson, Waldemar Lorentzon and Axel
Olson. These painters, after having originally defined their position
(a
as
cences.
These
artists
stayed
together,
full
and
of romantic reminisin
1954 produced
Halmstad theatre.
group whose views were contained
In
Denmark
there
was
first
'Cubist
in the
Surrealist
in Copenhagen,
Thoresen and Rita
Exhibition'
Henry Carlsson,
Elsa
129
Bjerke-Petersen,
who
organized various
to
130
131
raoul ubac
Bri'tlage
1939-40
Freddie on the day of the opening and tried to strangle him. The
much
later.
public,
and
new
exhi-
But
into hiding
true worth.
at the instance of the theoretician Karel Teige and the poets Vitezslav
Nezval and Konstantin Biebl. Breton and Eluard had an enthusiastic
all
i} 6
sorts of materials
folk imagery.
immense
major work in
in
[33
figures
the sculptor
this
style
transparent veils,
who
Iron
Age
195
is
134
spectators
who
Toyen
dancers.
played
an
active
and turning
part
in
their backs
the
on the
foundation
of
and fissured universe the human silhouette in The Red Spectre (1934)
and the night bird in The Voice of the Forest (1934) are both covered
in a network of cracks as if they were about to disintegrate. Her first
major exhibition in Prague in 1938 was accompanied by the publi:
cation of
with
its
showing on
window
of
woman's body
a
;
house,
the sky
JINDRICH STYRSKY
Little Jesus 1941
WILHELM FREDDIE
Monument
138
to
war 1936
form
veries
a stifling erotic
dream-world
may have
is
resulted in her
suspended
name being
Her
left off
lips
and hair
number of
disco-
self-effacing attitude
the
lists
of the great
but there
is
Italian painters
were inspired by
the trend. Alberto Martini, a painter born in 1876, had illustrated the
works of Mallarme, Poe and Rimbaud as early as 191 1; his extraordinary paintings, his albums of lithographs (Mysteries and Fantasies
bizarre and cruel) his designs for sets and costumes for a 'theatre on
,
134
*37
TOYEN
Silken feasts 1962
138
TOYEN
In the
warmth of
the night
1968
the water'
the
first
all
as a
precursor of surrealism.
He was
surrealism.
group.
He
The Mind Works and The Eyes of Love, several portraits, including
one of Andre Breton, and a series of Butterfly-women. From 1935 to
as
his
who
rates as a
master
Chirico. Savinio
brother had
who may
little
is
painters, such as
own form
influence. He was
had
his
of genius, on
at first a
w hich
T
his elder
35
39
ROLAND PENROSE
Portrait of Valentine
1937
140
I4i
<
ALBF.RTO SAVINIO
The departure of Ulysses
1930
whom rumour
had
it
that he
and
yells
enthusiastic range.'
ballets,
also
stories,
Paris,
Mercure.
He
returned to
vie de
November
1927.
first
His pictures
irrational
*37
141
is
much
in
'the
i$9
More than sixty artists took part. The star of the English
was Paul Nash, who might have been the best English
surrealist painter, had not his versatility led him to try every genre.
Another leading exhibitor was Humphrey Jennings, painter and
film-maker, who painted oddly sophisticated pictures. Henry Moore
showed sculptures which stood at the frontiers of dream and reality.
Some of the others who stood out were Eileen Agar, with her poetic
objects, and the caricaturist Edward Burra, whose paintings were
derivative of those of Max Ernst. On the evening of the private view
the guests were joined by a 'woman with a head of flowers', whose
head was entirely hidden in a bouquet of roses. Salvador Dali turned
up to lecture wearing a diving suit and holding two white greyhounds
on a leash. The success and influence of this exhibition were remarkable. In 1938, E.L.T. Mesens moved to London and took on the
objects.
section
London
Bulletin
in Paris,
where he went to
live.
spread
surrealist
early as 1927.
At
ideas,
first
through
his
138
won
painters
eclipse
or Surrealist Studies in
painters are
especially
in close
figure.
an
is
satirical
two
work developed
belonged
in
at first to the
He
if
:
tieribboned
to
work
in
painters, he
the
to
in the silken
bonds of
half-abstract,
among
those
half-visionary style.
who
Of
all
Japanese
is
a sufficiently
surrealism was far from being the concern of a closed circle, but was
a response to a
a universal place in
man's
sensibilities.
39
CHAPTER SEVEN
The object
The
object
is
surrealist creation
than the
The aim of
all,
'a
in,
was
to
which
first
know
of
its
multiple
fall
into clearly
point the different genres of objects which have been used or invented
since the start of the
The found
object
movement.
(objet trouve).
intrinsic
frequent forays
40
down
object,
to the Flea
It is
is
function
whose
is
is
practical
known.
There
is
object.
This
may
kingdom
in
'the
142
MARCEL DL'CHAMP
Why not sneeze
Rrose Selavy
1
92
141
in the country
gave Breton
'the
the
for.
object. This is most frequently an ornament or
which has been converted by sleight of hand into a bizarre
Dominguez was particularly gifted in this way Arrival of
1J4
Epoque (1936)
hips separated
old phonograph,
little
a picture frame.
Never (1938)
is
an
painted white,
woman
a statuette of a
is
Surrealist Elephant
Dali's transformation of a
is
coral elephant
and the
shell
of a
object.
on which
it
is
based, or
At Majola
best example.
from
in 1934,
Max
by colouring them or
Ernst's Visit
is
the
objects
Max
slightly
use this
comb
for
combing one's
is
hair. It has
artist
has
become
it
Duchamp
sugar lumps
to a certain
142
made
Museum
most
Why
not sneeze
made of marble,
thermometer and
a cuttlefish
bone.
creators of readymades
Man
its
14/
made up of natural
is
j?
The incorporated
object.
This
or a sculpture in such a
work of
depriving the
its
w here
7
that
it
as
number of
a hatpin
and
The phantom
7/
raison d'etre.
is
way
is
close to collage.
object.
description.
He imagined
the spots
object
the construction of a
wooden
is
Luis Bunuel's
effigy
Giraffe.
The phantom
made
exist,
is
The dreamt
object.
According to Breton,
this
corresponds to
106
14J
'the
It is a
in
fur (1936,
New
York,
Museum
ot
Modern
Art).
The Wheelbarrow
143
143
145
MERET OPPENHEIM
Cup, saucer and
spoon in fur
1936
144
JOSEPH CORNELL
Taglioni 's jewel casket 1940
M5
MAN RAY
Destroyed object 1932
144
146
JOSEPH CORNELL
Set for making
soap bubbles
1948
147
MAN RAY
Gift
921
I48
WOLFGANG PAALEN
Leafy furniture cover 1936
45
149
ANDRE BRETON
Poem-object
1955
By
The box.
This
used.
is
object
comprises
the
arrangement of various
and by
89-91
his
friendships.
inspired by Ernst's
it
by
make
Ta Femme
first
box,
collages,
shown
in
146
astronomical
prints,
whose bottoms
contain
flasks,
crystal
evoke imaginary
streets
cubes,
Some of
his
balls,
boxes
on which various
pieces of debris
rest.
is
who was
in fact the
a kind of relief
'49
which
form
objective
numbered
in Communication relative to
references,
each of which
is
has
represented below by an
object.
object.
When he made
wooden
crescent.
ball
object'.
The
MO
ANDRE BRETON
Symbolically
functioning
object
1931
147
OS
along the edge of the crescent, but the length of the string allowed
him
to slide
it
for the
movement
several 'mobile
is
devolution, no. 3,
lost
174
j jo
is
consisting of a
milk.
The
woman's shoe
inside
a glass of
milk a sugar lump on which the picture of a shoe had been painted.
to
fifty
glasses
The
of peppermint,
and one of whose feet rested on a door handle so as to make the chair
unstable, and The Hypnagogic Clock, which consisted of twelve inkwells
baked into a loaf of bread, each of them containing a quill pen of
different
colour.
He proposed
functioning
objects
of
subdivisions
transubstantiated
objects
symbolically
(straw
watches),
illustrates the
surrealist
movement
to
whom
148
152
JEAN BENOIT
The Necropbile
(dedicated to Sergeant her fraud)
1964-5
Hi
JEAN BENOIT
Costume for
Will
it
was intended. In
sentimental
description
The
in
or
this
way
intellectual
being-object.
one of
it
Ney
in a fog. In
149
this article
he shows
how
to
'the
the 'being-object'
a mental conception
his
'anti-eurythmic' shoes,
a 'totem of man-liberty'.
costume interlock,
Benoit explained
of the
120
By
as Bellmer's Doll,
This
list
to
human
appearance, such
to
Henri Poincare
it
fit
Ernst,
who
singled
them out
at the
Institut
Nor
does
elements to the tradition of the object which the surrealists established. Rauschenberg's
lations'
range of possibilities in
We
this field
results are
still
attributable to
had
it
a vast
would not have passed beyond the Dada object, which was
and which, in order to provoke the idea of
set
150
ll
A P
BR
(.
The
was
and arouse
so that
state
in
of emotional disturbance.
When
it 'a
place
from which
it
would
may be
in 1937,
arts', in
as
it
is
at the
movement
w as
r
it
to
make
a collective statement
which
in the courtyard,
where
first
iJJ
153
'Exposition
Internationale
du
Surrealismc',
Galerie des
Beaux-Arts,
Paris 1938
the pool
one
The Horoscope,
an object by
Marcel Jean
paintings by
Paalen, Penrose
and Masson
imaginary
(Weak
Street),
At
Street),
Rue
152
mannequins
Max
Ernst's mannequin
man
was dressed
154
'Exposition
Internationale
du Surrealisme',
Galerie des
Beaux-Arts,
Paris 1938
Never, an object
by Dominguez
the brazier
designed by Paalen was covered in moss and fungi and had a bat
on her head; Man Ray's wept crystal tears, and wore a headdress
of pipes with glass bubbles emerging from them; Duchamp's figure
wore a man's jacket with a red electric light bulb in the breast pocket
in place of a folded handkerchief. The most spectacular of all was
Masson's Girl
in a black
in a
Then
Duchamp,
'organizers', with
or"
Man
Ray
hung from
the ceiling. In
153
jj6
IJ4
the middle
ijj
ijy
friends
On the
(a stool
opening day,
after a
first
'scents of Brazil'
in
the smell
which appeared
at the
definitions
(lie
a parasol
on
muddy
Moon - a marvellous
curious comment on himself
road;
great undesirables'.
the press
showed
It
less that
that they
wished to introduce
number of newcomers
Max
154
effects
M5
SALVADOR DALi
Rainy Taxi 1938
156
ANDRE MASSON
Girl
in
a black gag
1938
VIVIE
mmmtm
liiiii
157
KTRT SELIGMANN
I
It ra -furniture
1938
155
ij8
from day-to-day
Desire (1936).
realities, as in
He made
and although he was obliged to give up his work for ten years, he
took up his experiments after the war along exactly the same lines.
Valentine Hugo began her career with a series of twenty-four
wood
160
1 j/,
192
and was noted particularly for her illustrations, in which she created
an intangible world with pastels and gouaches, as in the illustrations
for Les Chants de Maldoror (1932-3) and Achim von Arnim's Contes
bi^arres (1933). For Paul Eluard's Les Animaux et leurs hommes (1937)
she used drypoint. She also produced a series of allegorical paintings
based on the Rimbaud legend.
Dora Maar was a painter and photographer of Yugoslav origin;
she was for some time Picasso's 'muse', and then joined the surrealists
from 1935 to 1937, but later turned her attention towards mysticism.
Maurice Henry came into the movement in 1932 and produced
humorous drawings, mainly on the theme of ghost stories, which
foreshadowed the graphic experiments of his later albums Les
Metamorphoses du Vide and Les 32 positions de l' Androgyne. Esteban
Frances was a Spanish painter whose use of the technique of
'grattage' resulted in a pure automatism which was much admired.
Gordon Onslow-Ford, an English painter who had spent some time
in the Royal Navy, became interested in surrealism in 1937; his
subsequent development soon led him towards abstraction.
Kurt Seligmann was born in Switzerland, where he had made a
collection of documents concerning witchcraft and had written a
history of magic. He exhibited at Basle and Berne, and then published
a series of fifteen etchings entitled Cardiac Protuberances (1934). While
working with the surrealists, he was particularly interested in
creating objects, and many of his drawings were inspired by heraldic
emblems. In some of his paintings he gives a highly mannerist
interpretation of classical mythology, using automaton-like figures.
m6
158
fantastic;
whom
whom
she
1939.
as in
Tomorrow
New
particularly striking,
H9
161
never (1955,
is
Minotaure,
its
wit, Minotaure
to be defined
editorship,
it
more
At
out to
it
and modern
his
own
stimulate
first,
art in
under Teriadc's
an eclectic manner,
particular line.
interest
in
the
unexpected
in
157
mm
i
Pifl
us
Sill
''
<
LllfSiiJi
159
162
their
is never
photographs,
Brassa'i,
succeeded in using
The
first
1955
which
Man
reality as a trap in
Botticelli,
la
article
the
'Physique de
works of
poets.
la
By means of
his collection
who
illustrated
of postcards, 'those
draw attention to
on the meaning of
beauty. Breton showed a collection of mediums' drawings, while
Peret contributed poems singing the praises of armour, ruins and
treasures of nothingness', Eluard also helped to
minor
art
automatons.
158
light
';\
<
8
I
<
*
1
J-
60
*-*
kurt seligmann
subject
and
in addition
'Follow Minotaure,
who had
M9
which
set
art'
(Pour un art
all
revolutionnaire
fought for over the years. In the face of the current threats of war
we
unconditional
principle
With
refusal,
this in
1938,
whose
Art (F.I.A.R.I.),
short-lived
Maurice Nadeau,
editorial secretary
publication
who was
had
Cle
as
its
du surrealisme.
surrealists
temporary
playing-card
all
at times
Dream
suits
were replaced by
:
Love (Flame),
Knowledge
The
(Keyhole).
Ten,
has
it
surrealists
cards
consisted of
Ace,
etc.,
:
Genius,
intellectual
Siren,
Magus,
heroes of the
etc.
Domingucz. They
proclaimed by the
chief
160
adornment of
life.
which
is
the
i6i
pablo picasso
\\\\\)(
162
Brassai
Photograph of
\:\\"m
graffiti
1933
q_
/-a^^t^-n"Ural
Vvvy
_^^
H"
9
>
H^
iH
1
\^.
163
OSCAR DOMING!
Freud,
/^
T^T
3D
a >
1940
[6
CHAPTER NINE
In
America the
a climate of opinion
American artists.
becoming aware of the
touring exhibition
in 1936
by the
surrealist experience
'Fantastic Art,
before
Dada, Surrealism'
of
Modern
this,
when
was organized
a firm foothold.
162
The
three
Vs of
the
title
VW
represented
way of
the
the
was founded
triple
in
1942.
Victory,
'over
emancipation of the
for
constantly obliged the visitor to stop and retrace his steps, passing
wrote
surrealist painter
Man
in the catalogue
the Artificial
difficulty
of getting hold of
nominal
The
painters
164, 169
6j
for a real or
imagined likeness to
subjects.
who would
brought to
light the
work of some
'drip' technique.
New York
gallery.
The
influence of
Max
New York
a universe of
a
little
girls
prey to nocturnal
fears,
of her
own
sisters in Illinois
Her perverse
inanimate body of
Her memories
helped her to
little
164
heroines
companion
164
MORRIS HIRSHFIELD
Nude
with cupids
1944
165
Les
Pelites
DOROTHEA TANNING
Amionces faites a Warn
1951
l6l
lies
themselves into a
human pyramid by
of animals
is
1.
was only on his arrival in the United States that the painting
of Matta came to its full brilliance, and burst like a storm into a
world which he constantly thereafter explored. Matta had first
joined the surrealists in 1937, when he arrived in Paris from his
native Chile to study architecture with Le Corbusier. He showed
some work to Breton at the Galerie Gradiva; Breton bought two
drawings from him and invited him to take part in illustrating Les
Chants de Maldoror, published by Editions G.L.M. In 1938 Matta
painted six big canvases, Psychological Morphologies, which were the
point of departure for his whole development. These spaces choked
with matter in fusion show the interior of the conscious mind as a
vitreous mass, full of glaucous glows and sparkling brilliance. As a
result of his stay in the United States from 1939, with the added
advantage of some travelling, particularly a visit to Mexico in 1941,
Matta was able to broaden his experience, and to bring it up to the
scale of the civilization which he found before his eyes. He unfolded
huge galactic panoramas, and studied the life of the psyche as if he
were prospecting the surface of a planet, in The Earth is a Man (1941,
New York, William Rubin collection), The Disasters of Mysticism
It
ij2
Elinonde
(1942),
Museum
of
(1943),
Modern
The
screens
on which he projected
clawed
Vertigo
his
mental
film.
anthropomorphic
166
New York
In
Monstrous, tentacled,
insects
and anxiety-
scuffles.
66
WIFREDO LAM
The Jungle
1943
imperturbability was
the
Like
He
own
idiom
'I
am going
to
make a tour of the I, from the South to the Rmis'. To show that
some of his pictures were explorations of the depths of the ego he
entitled them Je m'honte and Je m'arche (punning titles, turning je
monte^
'I
ascend',
or. je
warche,
'I
and
is
fiction,
is
with extra-
.67
pretation.
the
May
Lovecraft.
i6 7
sive
men
is
a cosmic painter,
interpret the
it
nestles in
167
tries
and not
to
as
at Pierre
New
York, exhibitions which definitively estapersonality. Lam, a Cuban, had worked for a long time
Matisse's gallery in
in Spain,
Lam
who
infinity,
S8
169
169
Lam
imitator, for he
on board
66
171
enthusiastic reception.
20j
warm,
was able
own
use.
Lam
left
France in 1941,
as if
it
him birth. During a stay in Haiti, Lam studied the Voodoo cult,
drew inspiration from the vevers, the symbolic patterns drawn in
170
ALEXANDER CALDER
Profile of a man
c.
170
1928-30
i7i
ALEXANDER CALDER
Constellation
with quadrilateral
1943
flour
make
to
pillar
where the
rites
Ogoun
Ferraille, the
Lam, no geographical
in
limitation.
is
god of war,
no exoticism
Although he was
a passionate
observer of the jungle and the rituals which he evokes in his paintings,
they do not remain in their aboriginal form.
a whole, the
its
The
The
Museum
of
Modern Art
in
cities.
show of
the
importance in modern
his
at
retrospective
primitive earth as
doing
it all
much
as to surrealism,
as
to
171
72
ROBERTO MATTA
Elinonde
1943
humour, and his longing to give life and movement to the inert
and non-figurative, assured him a place of honour among the
surrealists. It is easier to understand what Calder was about if one
knows that as a young man, after he had got his engineering diploma,
he spent every evening for a year at Barnum's circus, making sketches
of the show. He was enchanted by the animals, and the quality of his
observation of them is proved by his collection of drawings Animal
Sketching (1926) and his illustrations for Aesop's Fables (1 93 1).
Calder conceived the idea of making a circus in miniature from
pieces of wire, corks and scraps of wood. His dual talents as engineer
his
172
and
artist
jugglers
tricks. In Paris in
moved on
to geometrical sculptures
artists.
Subsequently Caldet
the 'stabiles'
made of
discs
and spheres painted black, white, blue and red in the spirit of neo
plasticism. Next he did animated sculpture; in his 'mobiles', which
in their initial form were put into motion by hand or by a motor,
several elements are set
at the
slightest breath
man
first
of
air,
the tough
like
joyful songs.
soul of a nightingale',
He was
always to be
73
wifrldo lam
Jungle 1944
[73
'74
174
and
abstract circus turns with lyrical toys. Calder returned to the stabiles
in 1942
iyi
with Morning Star, and gave them the lightness of his mobiles.
Then he
in a
lyrical
explosion.
Gorky
of war
74
galleries,
he became a teacher in
New
classes in
various schools. In
York, mainly
at
the
Grand
1926
Central
School of Art.
After a figurative period,
restless
than
will
He
carried
When
to offer,
whom
Gorkv
had
launched into
He worked
175
art
and
flight.
in the
open
air in the
is the
Cock's
Comb 1944
[75
number of drawings of
leaves
in a transfigured
form.
In The Liver
iyj
is
the
Cock's
Comb
ij6
Gorky was
He was
movement.
176
ARSHILE GORKY
Agony
1947
176
chap
T E R
T E N
Surrealist architecture
admired and
finally
rators
It is
and builders
who were
of comfort;
habitable
it is
even metaphorical.
figurative,
monumental
surrealist
fall
aim
Its
movement.
in
is
to
make
creatures or objects.
before
it
mainly to achieve an
effect
Many
of
of disorientation, in their
exile,
La
In
Aragon remarked
that
'a
juxtaposition
town whose plan could be drawn'. Andre Masson and Max Ernst
both made drawings of imaginary cities, and in the canvases of Dali,
Delvaux and Kay Sage there are all manner of unexpected buildings.
In his series of Dwellings (1966), Georges Malkine evokes imaginary
houses conceived as particularly suitable for various famous people.
The
the
survey
d'une
ville',
'Sur
certaines
possibilites
is
established by
d'embellissement irrationel
service de la Revolution.
monuments
a
surrealist
in Paris
city.
would have
it
into
woman
climbing up
'be replaced
it',
two halves
metres apart'.
177
and he
'The most
that 'one day houses will be turned inside out like gloves',
sites.
ploughed
monotony of
the water.
collection
of
lines,
poems,
feet.'
Incongruites
monumentales
(1948),
woman's
who
ordered the
windows of
Italian Renaissance
177
Nicolas ledoux
farm
78
NICOLAS LEDOUX
Symbolic representation of
the auditorium of the theatre
his
house
down
at
at
the
a hillside
art
XV;
he designed a pavilion
at
Louvenciennes
Madame Du
to the king. In
at
plans.
Ledoux considered
that luxury
at his
ambitious
much to
The sumptuous
a craftsman's
workshop or
buildings for
to a
the salt-works
barn
were
as to a chateau.
laid
out in a
circle; the
clerical
palatial,
'social city'.
In this city
Temple of
all
the
Conciliation),
179
*77>
7 7*
777
on pure form
with displays of
fountains and flames, urns and statues erected for the sake of the
and
cast,
architects
who were
dismissed as
'megalo-
his library,
of the Earth
his spherical
Temple
Nouveau
architects,
179
Nouveau
work of
the Art
architecture',
on
'De
style'.
by
beaute terrifiante
Above
179
HECTOR GUIMARD
Decoration of
a Metro entrance
c.
180
1900
i8o
for
him
he studied their
method of supporting
Gothic Revival
style,
he substituted a new
an inclined
pillar.
The
ceramics,
walls
following
1S2
the
from stone. Not only did Gaudi make masterly use of polychromy,
but he also used architectural collage by incorporating
real objects,
The Casa
which
from the
street.
181
$0,181
ANTONI GAUD I
Chimney of Casa Mild 1905-10
182
ANTONI GAUDI
it
is
in the
of surrealism
is
most
Finally,
raw
state
spirit
in the
in
buildings
construction, but
concrete the
truly found.
who
relied
department of Drome,
182
FERDINAND CHEV al
191 2,
after
Palais Ideal
thirty-three
construction,
the
Palais
Ideal,
Algiers,
and
the
and
Hindu temple,
a
main
medieval
facades,
castle.
Tower of
the
of daily labour,
years
879-1 91 2 (detail
was
many
finished.
styles
this
In
its
Barbary)
extraordinary
construction
The
highest part
twenty-eight
yards
is
in
long,
have
niches
183
183,184
The
Palais Ideal
in
is
there
is
even a
its
natural
form and
when
it
is
Another naive
who
architect
was Simon
(1921-51) near Los Angeles. These are huge metal scaffold cons-
horsemen and
all
over figures of
birds.
184
FERDINAND CHEVAL
Palais Ideal
1879-1912
of
(detail
ChevaPs tomb)
T84
185
Some of
the
Duchamp
invented a door
When
shut',
it
effects
185
9*
furniture
and
spatial effects
on, Matta
i8j
on
this
1962. This
is
consisting
of monastic
linked
cells
windows
Many
he envisaged a 'flower
valley',
with
its
Hermann
light.
Nova' (1919-20),
was to be
majolica, with
one of Wright's
The most
Okla.
'House of Contemplation'
City',
full rein to
ville,
his
surrealist
He was
of
disciples,
his
architect in Bartles-
utility as its
which
whose
was the
is
Spiral
VW,
186
FREDERICK KIESLER
and
in 1922
moving
EtldleSS
House I933-I960
scenery.
For
a festival of
in
Vienna
in
which
out
laid
lifts
among
a system
to the other, or
In
1933
he
elaborated his
ceiling.
fruition. Kiesler
wished to
ceilings
The
up of linked cave-like
are
all
of
available.
187
86
187
The
form of sculptures integrated with the archino bathroom, as each bed has a bath associated
the bedroom. The total effect is intended to produce 'inner
furniture
tecture.
with
it
is
There
in
peace'. Arp,
in the
is
who was
wrote
human
'In this
beings will
now
first
made
New York
for
'the
idea
wooden
He
which would stand any way up, and which could also be
benches and trestles. At this time he came to uphold
a style which he called 'correalism', to show that it reconciled
different aspects of reality, such as the elements, life and space. He
seats
used as
188
tables,
of living.'
Starting
its
of architecture
which
is
are
show
unities.
du Surrealisme' in
He took this
of Superstitions.
known
his
Paris,
as
or Villanueva, for
whom
arts.
is
Unlike Gropius
subordinated to
attempt
him
at
his
Golfe-Juan, he showed
me
sketches ot
spent a
number
From
the
time,
is
189
iSj
CHAPTER ELEVEN
myth.
The
tests,
was intended
neophyte into an
initiate.
rooms by climbing
So the
Eckhardt, Frazer's
solitaire,
upper
a red staircase
promeneur
room
The
Golden hough,
Swedenborg's Memorabilia
etc.
indicated the
ceiling.
Next the
it,
Calder's
mysterious
this
made
Some
of the sculptures in
to Kiesler's designs
for instance
Religions,
made by
88
1947
The
visitor
animals
to
1X9, 190
phantom
objects (the
in several
iqi
191
189
WIFREDO LAM
Altar for 'La
chevelure de
Falmer'
1947
190
ROBERTO MATTA
Altar
dedicated to
Marcel Duchamp
'
1947
and to
fictional
characters
poem
Devotion).
surprise
192
to
192
An
electric bell
'objects'
191
VICTOR BRAUNER
The Wolftable
1947
192
KURT SELIGMANN
Will
0'
the
wisp
1937
Works by
Gerome Kamrowsky,
newcomers
Braulio
to
Arenas,
the
movement,
including
Maurice Baskine,
E.F.
Granell,
Seigle,
Isabelle
93
among
first
editions,
and
still
more
from twenty-
went
into
what should go
into the
show-window
in the
Avenue de Messine;
on
a sculpture
lost its
power
to shock passers-by.
It was at this time that Antonin Artaud, who had been discharged
from the Rodez asylum, spoke out with a prophet's voice, producing
drawings which were like cries in which he expressed the human
face, and Rene Char, Julien Gracq, Jacques Prevert and Aime Cesaire
produced coruscating examples of the purest surrealist language.
In 1947, to cope with the world-wide interest in surrealism, Andre
Breton founded Cause, an action bureau which had the job of coordinating manifestations of interest in surrealism from every country.
Cause was charged with the publication of two pamphlets, Kupture
Inaugurale (1947) and
la Niche (1948), which defined the distance
which separated surrealism from politics and religion. The surrealist
group, which met each week at the Cafe de la Place Blanche, was
swamped by such
an attempt to eliminate
who wanted
to join the
which was
movement.
time,
Finally, in
at the
artists
194
193
for
at
the
Galeric
a diplomat.
During
full
work. The curves and entanglements of her bronzes are derived from
95
who
but
It
man
other
members of
not share their worship of the image. Riopelle was born in Montreal,
and had been a disciple of Paul-Emile Borduas, the founder in 1944
of a Canadian group called the 'automatists', who derived their
inspiration from surrealism. When he arrived in Paris, Riopelle
shared a show called 'Automatisme' with the Canadian painter Leduc,
and he took part in the surrealist exhibition at the Galerie Maeght.
In pictorial automatism Riopelle was seeking freedom and breadth
of gesture; his robust nature gave a special sensibility to his interlacing
of colours. When he held his first major exhibition at the Galerie
du Dragon in March 1949, Elisa, Andre Breton and Benjamin Peret
contributed a portrait in dialogue to the catalogue. 'For me, his is the
art of a superior trapper', said Breton, to which Peret added
'Everything in the work of Riopelle is lit by the sun of the great
forests, where the leaves fall like a biscuit of snow soaked in sherry.'
:
When
all
the defectors.
Italian painter
in 1940.
among
Helped by
to
his friendship
fluid
et
Mandro,
first,
Drouin
initially
held
in the Place
its
meetings in
Vendome. Jean
by
people unscathed by
196
artistic
culture'.
194
Poetess 1940
which he wrote a pamphlet on Vart brut (art in the raw or crude state)
and its superiority to 'cultural art'
Art brut pre/ere aux arts
culturels. The style of this pamphlet recalls Tzara's eulogy of idiocv.
'The wise men would have to commit the great harakiri of the
intelligence, launch themselves on the great leap into superlucid imbecility
that's the only way their millions of eyes would ever start to
grow.' Breton encouraged this action, and took an interest in the brut
painters like Miguel Hernandez and Aloi'se, and in the Scots-Canadian
naif, Scottie Wilson, whose meticulous and disturbing Viand- made
pen drawings are made up largely of minute parallel hatchings within
:
firm outlines.
who had
that he
had the
gift
of healing.
hearts
all
by Joseph Crepin,
who had
He treated
plumber
subsequently discovered
his patients
lay
on
by sending
their chests. At
97
*93
195
JOAN MIRO
People and dog
before the sun
1949
all
size,
which had told him 'The war will end on the day when you have
painted three hundred pictures.' He took a great delight in saying
that he finished the three-hundredth on 7 Mav 1945. The same voice
instructed him again in 1947
'You will paint forty-five marvellous
pictures, and then the world will be at peace.' When Crepin died
in 1948, he was working on the fortv-second. His paintings consist
of an infinite number of what he called 'points', which look like
:
studs of colour.
The beginning of
198
196
ANDKl'.
From
M VSSON
a native land
1967
197
HANS BELLMER
Drawing 1965
199
AgP
flSH^^S
_
!/
*1!
"Bnrl|
s!^^?^^^
Setoff?
?R
?^ttV
yves tanguy Multiplication of arcs 1954
198
modern
194
i9J
art
'spontaneous'
whose
paintings,
light gracefulness
is
titles
pictures,
The Jasmines
embalm
the dress
Rhythm of
to
make
the
then in 1956 he
216
left his
moved
as
he
to a house in
his inspiration,
set
off en
route
for
78
stones which ended with The Multiplication of Arcs (1954, New York,
Museum of Modern Art), and which seem to describe the depths of
198
now
197
the abyss.
woman
rough diamond,
make
the
strangest
jewel
in
Wolfgang
he
were
trying
to
the
world.
as if
Paalen, in an attempt to found a 'plastic cosmogony', did a series of
like a
paintings
on
the
forces of nature
199
20I
199
200
MAX ERNST
The Blue Hour
1946-7
201
MAX ERNST
Aeolian harp
First Thought
1965
202
202
MAX ERNST
The moon
is
a mute nightingale
1963
203
WIFREDO LAM
The Sombre Malembo
*943
203
204
VICTOR BRAUNER
being retracted,
refracted, spied
bis conscience
[951
200-202
196
204
am
the
bumani^ed-debumani^ed
am
No
inorganic peace.
occupation, and
my
ligbt
remains silent
20 S
work
to 195
he made groups of
him
to
static
or
seek the
reality.
who
Victor Brauner,
onwards,
his wife
on nudes and
before, became smaller and smaller the more he
at his Paris studio in 1945
moved
204, 2 6
20 J
Being retracted...
to enclose a poetic
Matta
lived
in
nourishment from
fleeing
Rome
in
1949-55,
and
his
5),
painting
drew
Think no more of
he tried to achieve
207
SALVADOR DALI
Don Quixote overthrown
1957
206
208
JACQUES HEROLD
Whirlwind of signs
1946
'the
ings
rieure)
his style at
of 1955, Mattamorphose
became graphic serial stories.
as in the series
all.
His draw-
(interieure
et
exte-
was nothing but a continuation of his 'revoluBoth periods derive from the 'paranoiac-critical
method'.
period.
When
in 195
and French, Dall painted a Soft self-portrait with grilled bacon (195 1),
which shows the skin of his face hanging on a branch like an empty
envelope.
or will not
exist',
loaf fastened
on
and
in the past
who
his head,
Sorbonne dissertation
in
is
will be edible
December
1955,
who,
in a
209
JACQUES HEROLD
The Initiatrix
1959
207
illustrated
a blunderbuss
with bullets
filled
with ink.
Some painters who had been attached to the surrealist group for
many years made their presence felt only late, in the post-war period.
Jacques Herold was a Romanian painter who had joined the movement
in 1934,
soon
he admired.
When
urging of Tanguy,
whom
movement
animals. In his
208
until
2IO
JACQUES HEROLD
La
femmoiselle 1945
JACQUES HEROLD
The Pagan
Woman 1964
He even wanted 'to tear the skin from the sky'. Then he
became haunted by crystal, and his forms took on a stratified, vitrified
atmosphere'.
'As crystallization
is
210, 21~
human body
radiate',
is
from w hich
one of the
is
(1939)
crystals
earliest
209
206, 209
examples of
208
this style,
which
later,
Whirlwind of signs (1946) and in The Nurse of the Forests (1947, Paris,
private collection), was applied to poetic subjects. In 195 1 Herold
broke with surrealism, and conceived the ideal of 'painting the wind',
effects
where he had been peacefully cultivating it, and became the delight
of a group of connoisseurs. In 1930 his painting 'Remembrance was
exhibited at the Salon des Artistes Revolutionnaires, and was noted
by the surrealists, who henceforth claimed Trouille as one of themselves. Trouille was a Sunday painter - and what Sundays! - who
worked in a Paris factory which made wax dummies for shop
windows. His style was inspired by the Belle Epoque, in which his
youth was spent, the gay 1890s and the Edwardian era. His imagery
212
2IO
the
Carmel 1944
clovis trouille
213
Oh!
Nouveau
of Melies, Art
posters,
Grand Guignol,
picture postcards, and the 'news in brief columns of L<? Petit Journal.
213
He
is
what
'I
painting
My
some
detail,
Funeral caused
at
the
1947
sell.
His
surrealist
humorous
fresh, vital
several painters
to
its
debates or submitting to
its
really sharing
its spirit,
contributing
disciplines, appropriated
its
methods
212
214
LEONOR
FINI
1964
They battened on
it
to
and
in
London
Gallery in
21 2
results
New York
one-man show
at the Julian
Levy
subjects
accessories,
Venice, Peggy
end of the
which can be found in her other work, such as her illustrations for
by de Sade (1944), and her sets and costumes for the play, Le
Mai court by Audiberti (1956). Her evolution finally brought her to
produce female apparitions treated in the style of Viennese Art
Nouveau (fugendstil), which are similar to Gustav Klimt's figures,
and which are certainly her best paintings The Secret Festival (1964),
The Window pane from the other side (1965).
Felix Labisse, who was born at Douai in 1905, is another of these
painters who while fluttering around surrealism, and superficially
fuliette
215
213
214
2ij
coming under
genuine
its
surrealists
wished to be
first at
to Paris,
Jean-Louis Barrault's
first
as a theatrical designer.
production
He was
start.
He
a friend of
Desnos wrote
moved
designed
Autour
Robert Desnos,
who
stand out for their sense of theatre, their lyrical inspiration, and,
if I
dare use the term in speaking of easel pictures, for their feeling of
open
the
air'.
on the
the body of
plays
contrast
a
Labisse
The Rose-Tears,
many
face.
He
some
became tree-trunks
in
human
effect,
human
with
form,
as in
figures
from his paintings he moved on to the evocation of 'libidowhich are a kind of meteor fallen in a desert space an
scaphes',
example
is
Around
had to take up
1950, surrealism
a definite position
on
inner drama or cosmic preoccupafrom the aestheticism which the surrealists so detested.
Action painting, which was derived from American abstract exprestions, escaped
214
sionism,
of pictorial automatism,
and
surrealists
or not
it
Their reaction
in
U Almanach
rical
at first
so
the
whether
see
Perct, writing
du demi-siecle (1950), expressed it in categoarguments. In his view, abstract art was an abdication of the
surrealiste
science', but
tends to
art
But the
surrealism,
critic
Charles Estienne,
encouraged
the
which
are
known under
abstract
wrote
'If
occurred
we
art, and in
brought back to
is
first
principles,
we
hold the two vital keys of modern art, both of that which has already
been created and of that which is now in the process of being created.'
L'Etoile Scellee,
11
Rue du
The
surrealist
Pre-aux-Clercs, opened in
in the catalogue
we
'Once more,
Hantai', a Hungarian painter who had been living in Paris since 1949,
was at this time making picture-objects such as Solidified Dew (1953)
and Collective Narcissus (1953), in which figuration tended to disappear
under a riot of colour. In March 1953 Breton mounted a show at
L'Etoile Scellee of four members of the October group, Jean
Degottex, Duvillier, Marcelle Loubchansky and Messagier.
At the end of this year the second and last Salon d'Octobre, put
215
on
at the Galerie
way of
possible
To
this,
Charles
d'Aujourd'hui,
gave
i
it
the
March
in an article in Combat,
the tachists
make
taches [blobs]
'It is
[literally, 'the
plain that if
way and
to the
The enemies of
October know perfectly well that the "blobs of October" have little
do with daubs and smears, but everything to do with a total
freedom of expression which starts again from zero every time.'
This birth certificate of tachism provoked all manner of protests
from painters and critics who wrote back to Combat. One of them
to
said
'Surrealism,
discovered a
citizens.'
new
vintage
1954,
wound up
Charles Estienne
tachism, as
unification of the
and
pictorial
Hantai'
showed
that he
was
by which
and
two tendencies
'It all
in painting today
lyrical abstraction
work of
bound
looked to bring
whom
it
to
end
in failure. Hantai', to
whom
Breton had
commemorating
de semonce.
The word
'tachism',
ribbon-work of
art, at
produce.
216
so
much
a metre',
ot
2l6
JOAN MIRO
Blue 2
96
217
JACQUES HEROLD
Heads 1939
21-
CHAPTER TWELVE
Occultation
As
had written of
'the
profound,
saw accomplished
movement he meant
of the
occultation
real
life.
By
the 'occultation'
its
circle, a
modern world
much
in an ideal climate,
were
the
life,
surrealists
it).
From now on
who approached
those
to
some kind of
Breton did
his
the
its affairs
in such a
movement would be
way
that
obliged to submit
utmost to
principles of the
surrealism sought to
movement, and
of
succession of periodicals
L<2 Brecbe
They
on the
survey, 'Ouvrez-vous
cipants
?'
('Will
if
One
particularly interesting
parti-
The
surrealists
still
memory
of some poet or
artist
all
against false
in his
house
They
in Saint-Cirq-la-Popie,
decide on a
218
also invented
clear repercussions
on
During
art
this
40,
it,
but
in the
at least to use
it
hope of
as a
system
as a
'If
the epithet
wrote,
'this
"magic"
is
demands of
word
art'.
"art",' he
This concept
allowed the construction of a new hierarchy of values, and a 'dignification' of the work of art beyond the formal or intellectual criteria
Palais Ideal,
Breton drew a
past,
219
-/
These
or
ritual.
latter
include
allow the
magic
artist to
'We
will
specifically
beauty
this
may have
Revolution and Magic are the two values which surrealism used
to conceal
its
unconfessed raison
d'etre,
which was
make
to
a religion
each other, turn and turn about, like day and night, in surrealist
thought, whose contradictions are a direct result of the impossibility
One
as
magic move
in the
same direction
he regarded as revolutionary.
of the painters on
whom
Breton counted to
illustrate his
in
1900,
220
218
1952
Molinier got in touch with Breton in 1950, and from Bordeaux kept
up a protracted correspondence with him. In 1955 Molinicr's exhiSccllec was hailed bv Breton as a triumph ot
bition at L'Etoile
surrealist art.
Breton wrote
is
'The virtue of
that
it
how
his art,
which
sets
out to
it
may
be, nevertheless
on which
is
it
makes an
active intervention in
life'.
Molinicr's painting
and which,
like a
which
stretches
its
221
219
was
his
it
to create a confusion
Max
absorbs.
What Breton
demonstration that
which
disorientates
considered to be magic
was possible for painting
ideas and directs desires.
it
27,
and got in touch with him. There was a tribute to him in one number
of Medium (no. 3, 1954), and an exhibition of his paintings was held
at L'Etoile Scellee in 1955. 'My painting is a hymn to woman', he
wrote, 'to that strange hybrid of visions and reality, of convulsive
220, 222
22)
219
111
women
butterflies'
made
wings.
To show them
still
more
luxuriantly, he sometimes
218
'bead mosaics'.
on
to
make an admirable
painting.
immediately brought
'It
me
which
is
cone
all
moving
is
in short stages,
moves forward
this
despite
itself,
irresistible attraction,
Breton showed
his constant
greatest
solitary.
Swedish
surrealist
painter,
although
lie
is
certainly
remained
his
"3
221
CAMACHO
Ace
des Tr.
1967
222
Enrico Baj, an
the 'nuclear
224
whom
way
Profile
creating
human
of an aristocratic lady
in the style
in
an example
most famous
series,
Kerum.
1 5
Internationale
du
surrealisme'
opened on
22 3
Les Illuminations
by Arthur Rimbaud
1958
225
224
224
ENRICO BAJ
Portrait 1963
anti-aesthetic
as
226
He reminded them
22 5
MERET OPPENHEIM
Cannibal feast
1959
visitor passed
walls draped in red velvet and the floor strewn with fine sand,
to a Fetishist
a Cannibal feast in
which
group
of
painter,
whom
Bellmer
had
discovered
in
1949,
in
when
Berlin.
in prison
and
Schroder-
he was fifty-seven.
in
in a circus
and
mental hospital.
227
22
r,
226
who went
off
on
own
came to maturity.
consider the claims and demands of
their
as they
artists
Maria
2]
228
III.
225)
227
UGO STERPINI
The armed armchair
1965
lie,
*Zy~"*2
JEAN-CLAUDE SILBERMANN
Semiramis. Sign for an
unforgettable night
1964
229
on
as if
complete exegesis.
imaginary shops.
221
look
like naturally
developed products.
theme was
this
later replaced
by
'absolute
This
said
is
not in a
spirit
of
sterile
swim
comes
directly
society in
to
grips with
which we
live',
the
most
intolerable
which
of the
230
battle,
aspects
23
ALBERTO GIRONELLA
Queen Mariana
1961
diately
become
and
artistic poverty'.
Desordinateur ) , a machine in
23
a scarecrow
made up of two
cross, in the
of newspapers.
series
227
shocked to observe that he resisted the twists and turns of time. The
word 'surrealist'
work which uses
of
will
the
reality.
ration.
described as
'applied phantasmagoria'
who were
or
'bazaar
surrealism'.
He
not as the search for an aesthetic, but as the bringing into action
32
231
andre masson
Portrait of
Biographies
Bibliography
List of illustrations
Index
Biographies
Arp, Jean or Hans
(i
was
student from
Der blaue
Reiter
in
exhibition.
In
191
5,
Zurich,
his first
19 16
in
In the
wood reliefs.
Max Ernst
produced
a series
Fatagaga
called
('Fabrication
garantis gav^ometriques'
de
tableaux
'manufacture of
del' air.
He made enormous
sculptures for
building
in
Paris
UNESCO
(1957),
Secre-
for
the
German
Renaissance.
a devotee.
*34
When
he
left
the
expression
poetry
'.
which
He
he
baptized
'
picto-
and
worked
for a time
a preface,
this he
his
the
engineer
In
1933 he made a Doll, which was simultaneously to be the ideal object of his
ras',
moved
Immediately after
which included
all
kinds of twilight
pictures
He pushed
of magic.
in
embarked
on
periments.
and
of
ex-
the
variety
abandoned
an
were
erected
various
in
He also painted
and made jewellery.
places.
oil,
his
'
magic
extraordinary
Saint-Martin-d'Ardechc.
the
in
Imposition
'
Surrealismc
'
then on was
1938, and
Paris in
in
Internationale
though
Alexander
his
(1898-1976).
mother was
Al-
and his
enthusiasm
a painter
He
1927.
wire
also
(Josephine
made
sculptures in steel
Baker,
1926),
geometric
Arp
which
were
later gave
and animated
brought into
by
bowl (1929), or by
hand,
as
the
name
sculptures
motion
of
stabiles,
either
in
Goldfish
motor, as in Torpedo
shape executing a dance movement (1932). In
1933, he returned to the United States and
moved
to a farm at
Roxbury
in
Connec-
ticut,
1963,
du
from
contributor to
a regular
Calder,
public
gouache and
in
when he
1947,
great
express
to
'
in
In
surrealists
period
studio
Paris
his
which
all
The atmo-
La Dame
ovale,
Editions G.L.M.,
Dawn
Paris
At
is
of short stories
t/>"
Inn
Horse,
made
moving autobio-
the
this
graphical story,
York
of
subject
'
En
bas
settled in
VVV, New
New York she
',
been affected by
local influences.
Chirico, Giorgio de
in
Greece, he studied
(1
Born
888-1978).
Fine
Arts. His
influenced by the
was
thought
German
greatly
philosophers,
Autumn Afternoon
He
autumn
lived
in
days
Paris
in
from
towns'.
Italian
191
to
191
5,
exhibited
in
the
Salons
and
Apollinaire.
He
spent
the
years
235
'
9i _I ^
he
Carra
Ferrara,
invented
pittura
metaphysical painting
Rome, where he
metafisica,
Then he moved
'.
from 191 8 to
1925, and was a founder member of the
Valor i Plastici group. In Rome he soon
changed his style.
He abandoned the
dreamlike mystery of his arcades, porticos,
mannequins (or dummies) and so-called
evangelical
and turned
still
lifes,
towards classicism. This change became
final in Paris in 1925-30, where he tried to
impose this new style in his designs for
the ballet IW written by Rieti for Diaghilev
in 1929.
During this period he had a
number of brushes with Breton and his
to
'
lived
'
who
friends,
On
genius.
his
his
proudly
Chirico
return
Rome
to
himself
enfolded
in
mad and
near Hollywood
'
still a surrealist.
'
nuclear
'
He was
born
(195
1),
He
).
studied
Academie
des Beaux- Arts, and from 1924 onwards
architecture
Brussels
the
at
in
landscapes
influence
the
of
He
Brussels.
movement
joined
the
surrealist
encouraged by the
examples of Chirico and Magritte. From
Pink knots (1937, Antwerp, Musee Royal
(1966),
at
'
(1941).
tical
in
1936,
solitary painter.
same
the
explore
paintings
his
Henri
Paul Delvaux
Le Monde
de
Kursaal in
Institute of
Zoology
a friend
wrote an ode
in his
Dalmau
exhibited at the
His
celona.
scenario
(1928),
honour.
for
the
film
made by Luis
who
In 1925 he
gallery in Bar-
first surrealist
work was
Un Chien
the
andalou
He was
Buriuel.
Miro, and
in
Paris,
showed
he
foreshadowed his
tivity.
He made
'
Gocmans
which
paintings
paranoiac-critical
'
ac-
in
the
which
is
holding an egg.
at the
same time
hand
2} 6
at
Liege
in i960.
Del Monte
Dominguez, Oscar
bred
in the
Canary
Born and
(1906-57).
Isles,
he had his
first
ex-
Artes in Tenerife.
where he was an
realist
He
active
member
of the sur-
to 1940.
Paul
Dominguez
him
discoveries
to
make
full
He
in his paintings
'
of a window cleaner
(Breton).
'
After the
of his
a result
the
Ernst,
on
philosophy
given
is
'
felt
',
remained hesitant.
his evolution
Duchamp, Marcel
(i
Duchamp
887-1968).
'
birth of cubism. In
part
de
section d'Or
la
him
introduced
who
as
Museum
of
the
Duchamp,
Marcel
'
Duchamp
'.
Philadelphia,
the
Blind
from
to
191
In
3.
Kongwrong,
the
first
for almost
an
hour
Museum of Modern
York,
the
published
'
close
New
Man and
at
readymade
and
',
and made his
'
machine
panel
To
optical
glass
painted
Salon
'
',
disturbing
is
when he took
1912,
foundation
the
in
Max
Alter studying
(1891-1976).
at
Bonn
His inven-
him to
produce some remarkable work, which
together with his
collage-novels
such
tion of 'frottage' in 1925 allowed
'
'
La Femme
early output.
as
title
in the
(19 18,
Antipope
Art).
genheim
(1942,
Venice,
United
States,
to 1953, with
Gug-
Peggy
Museum
His
large glass
'
',
detailed
notes.
martingale on the
tables,
exercised
Monte Carlo
roulette
etc.
as a professional in the
He
played chess
collection),
surrealist activity,
Grand
and
in
1954 he
won
paintings
which he used
in
methods, such
as
the
The
traditional
less original
games, ^'Opposition
et
whelming
influence
surrealism.
He
les
cases conjuguees
He had an
over-
on dadaism and on
'
portable
Boite-en-Valise (1942),
museum
',
Valise or
in
One room
in
Wilhelm
Freddie,
painted the
first
(1909-
surrealist
).
Freddie
picture to be
He became a
(1930).
and constantly produced
a stream of violent images of sexuality and
revolt.
His most famous picture was
shown
in
Denmark
disciple of Dali,
Monument
237
He
has
kind of
made two
films,
gave
pictures
Swiss
Geneva
in 19 19,
copied
antiques
life.
In 1922 he
went
to Paris
where
until
Academie de
Grande Chaumiere.
la
In
member of the
After his
last
to
Kiesler, Frederick
His
impulse
decisive
(1
896-1966).
He
studied
and was
at first a
His
group.
He was an architect,
first
member of
the
'
De
Stijl
continuous
'
break with surrealism, his closest relationship was with Andre Derain, and he
existentialists
1962 he
at the
won
the
Grand
Venice Biennale.
at
Pierre.
Gorky,
Arshile,
Adoian
(1904-48).
Gorky studied
real
at the
name
Born
in
Vosdanig
Armenia,
Polytechnic Institute
in 1942.
In 1945 he settled at
Connecticut,
238
where
series
Sherman
in
of tragic
Havana Escuela de
Bellas
Artes,
He
on jungle shapes, he
Yombe
piiando
collection).
Lam
(1950,
Paris,
private
mental
In 1925 he
He
lived in
During
group.
pictorial
figures
this stay he
which
style
developed his
together
brings
life,
but one
From
painting.
he
justified
by
urge
his
objects systematically.
embellish
to
He
then resumed
The
like
Art
of
Conversation
a pile
dream
which
He
which
he gave the name The Enchanted Domain
(195 1-3).
From
up
to
Masson,
Andre
his
at
(1896 [987).
Soon aftei
Balagny (Oise, France), lus
parents moved to Brussels, where he began
to
birth
draw
very
at
early
In
age.
1912
Beaux-Arts.
trades, in
He
support.
'
Amiable
one of his
last
The
paintings
art
marvellous.
have claimed
by him.
'.
then
left
and
He returned
in
Museums
despite
1962;
in
recognition,
Andre Masson
His
of his violence.
official
nothing
women
this
lost
in
armour (1963)
Matta,
real
Artes
to
in
Paris
his
in
Corbusier,
at
Academia de
Bellas
native Santiago.
He came
under Le
who
enabled
him
to
take
39
part
City
of the
planning
the
in
'
Radiant
He
'.
1937 in
Garcia Lorca,
who
gave him a
letter
of
Paalen,
introduction to Dali.
fire.
Born
(1905-59).
in
He made
1935.
automatism by
which he used
in
a contribution to pictorial
his invention of
to
make
'
fumage
',
fantastic pictures:
went
'
building in Paris
Wolfgang
with Lee Mullican and Gordon OnslowFord, founded the Dynaton movement,
which published a review called Dyn
This movement based itself
(1942-44).
on a new concept of reality, which it
called
dynatic (from the Greek dynaton,
possible '), and set out to reconcile art
and science, thus excluding all mysticism
or metaphysics. Its motto was no more
subject painting, but no more pictures
without a theme \
Paalen attributed
'
'
'
'
Miro, Joan
(1
Born
893-1983).
Bar-
in
there as a clerk.
He began
to paint in 1912,
who was
held
his
first
later to
In
191 8
found
Miro
at Dalmau's
and on moving to
exhibition
gallery in Barcelona,
hand
(1924,
Philadelphia,
collection)
in
his
Cuban
in
where
Paris,
Cormon's
attache
studio
Ecole
the
at
the
at
working
In 1898, after
legation.
studied
Spanish-
his
des
moved him
influence
In
period.
blished the
peintre
le
1908,
first
I'aquafortiste.
et
'
orphic
Monte
In 1940, at Varengeville he
had an
gallery,
240
native
linaire.
paintings
He
blue signified
In
N.
He
'
New York
exhibition
291.
mechanist
'
at
He took
of Dada
coincided with the
1
married
In 191 2 he began
visited
ginnings
He
in
full
in 191
Alfred
3,
and
Stieglitz's
and
this
flowering of his
is
New
7,
He published
collection).
of poems
tions
Kaieliers platoniques
(1917),
From
several collec-
Cinquante-deux
(1918), Poe'sie
1925 to 1935 he
monster
'
'
period with
He passed
when he
Transparencies (1926-35).
through
narrative
'
miroirs
period,
'
'
sur-irrealist
plaisir
',
'.
show,
retrospective
'
at the Galerie
Cinquante ans de
Rene Drouin.
made
several
Etoile de
Mer
films
(1928),
Le Myslire
dtt
to
he continued to practise
Paris
In
both
1954,
at
Shakespearian
series
gramophone.
to a
Savinio, Alberto,
and composition at the Athens conservatoire, and later at Munich under Max Reger.
He lived in Paris from 191 to 191 5 and
published a sequence of poems, Les Chants
1
various
embraced
himself
all
the
Picasso of his
surrealism,
came
own
meet
it.
'
'
de
la
Mi-Mort
1914.
first
He
in
',
then
moved
to Italy,
where
He composed
ballet
music;
performed
New York
in 1924.
in 19 18.
his
ballet
by Fokine, was
Opera
the Metropolitan
at
in
his
He began
in
to paint
1934.
poetry
all
exhibitions
Italy.
He
did his
own
was staged
at
the
at
La
Scala in 1951.
One room
'
on paintings
and on
'.
'
them.
He began
at
'
Tanguy, Yves
(1900-55).
241
sea-captain, and
as
sea
navy.
always secretly
is
was
She
1933
lism.
stages.
In 1920
From
In 1939 he emigrated
Kay
'
Devetsil
married to the
paintings,
passed
through
ahead
dribbles),
pure imagery.
technique
had
knuckle bones.
who was
Toyen,
abstract
'
and
the
show
showed beaches
of
all
Tanguy
member
She
France.
produced
cycle
of
His
third period is typified by the accumulation
and piling up of stones, and by the
evocation of a submarine world.
After
At
At
adherence to surrealism
committed suicide
in 1961.
Academy
She
the exhibition
realism
When
she
the Chicago
short time.
'
).
left
for
New
York, where
'
York; her
in
1942 in
New
first
In 1 946 she
1 944 at the Julien Levy gallery.
married Max Ernst, and went to live with
Tanning's
painting,
bacchanalian
orgies,
as
in
glimpsed
Eperdument (i960), one of the best pictures
of this later stvle.
Toyen,
real
(1902-80).
name
After
the
Marie
First
Germinova
World
War
Prague
242
which
wings
her
secrets
In
1905
he began to study at the Ecole des BeauxArts in Amiens. After some impressionist
paintings and some satirical drawings
first
work
which made
shop window dummies, where his job
was making up and restoring their
faces, and he stopped painting until 1930.
Subsequently the paintings he sent to
Independants and the
the Salon des
He worked
in a Paris factory
after
figuration,
fantastic
included
Franz
Kafka.
mous
Paris in 1963,
four.
list
Bibliography
Lros
General works
Painting,
London
1967.
du
Jean-Louis Bedouin
lisme, ipjQ-i</jQ
Andre Breton
Waldberg
Geneva 1962.
Andre Breton
ture,
Le Surrealisme
Gallimard,
la pein-
et
Paris
1928;
Peinture au
defi,
new
edition 1965.
Louis Aragon
Goemans,
La
Galcrie
in les Collages,
Cabiers d'art
David Gascoyne
realism,
Cobden
:
London
Sanderson,
1935-
Alfred
Barr,
jr.
New York
of Modern Art,
Museum
1936.
Dic-
at
'
'
the
Exposition
des
Galerie
du
Editions
History
1967
Paris
1945
realisme
Almanack
'),
Internationale
du
Sur-
number of La Nef),
Wyss
Der
:
le
La
surrealisme,
Alain JoufTroy
Vne Revolution du
Gallimard, Paris
Robert Benayoun
regard,
1964.
lirolique du Surrealisme,
'
Jose
Pierre
Le
Surrealismus,
Editions
Surrealisme,
L.
des
Dada
et
Artistes,
Brussels 1952.
Constantin
Sarane Alexandrian
Les
Dessins
de
Met or
Brauner
I'illu-
Victor Brauner,
Musec de
History of Surrea-
de Victor Brauner,
Johnson
James
York
Museum
195
195
Sweeney
1.
Soby
James Thrall
Museum
Paris 1957.
Jelinsky
Calder,
Peinture a trovers
Editions
Monographs
Alain Jouffroy
Paris 1950.
Rene Gaffe
New
1964.
Le
of the
(catalogue
Dieter
Haven
edition 1964.
Surrealisme en 19 47
Exposition
surrealisme,
Surre'alistes,
Le Drame du
Skira,
The
Books,
Collier
Documents
new
Paris 1948;
Le Surrealisme,
Histoire du Surrealisme,
Seuil,
of Surrealism,
New York
ans de surrea-
Maurice Nadeau
Victor Crastre
'ingt
Ga-
'),
ic;^;.
Patrick
Paris 1924.
'Exposition
the
Surrealisme
lerie
chronological order
of
(catalogue
Internationale
Giorgio
of Modern
Art,
de
Cbirico,
New
York
5-
Rene Crevcl
Dali on
'
anttobscurantismv
2 43
Museum
Salvador Dali,
Michel Sanouillet
Francis Picabia,
Edi-
Dali
de
Bock
de
Paul-Aloise
Paul
Delvaux,
tions
Maurice Nadeau
Les Dessins de Paul
Delvaux, Denoel, Paris 1967.
Robert Lebel
Sur Marcel Duchamp,
Trianon Press, Paris 1959.
:
Max
Ernst
d'Art, Paris
Patrick
Jean
1937.
Waldberg
Max
Ernst,
Jean-
Marcel Brion
Clairefontaine, Lausanne
Dupin
1968.
Alberto
Giacometti,
York
Patrick
Brussels
Selection,
Waldberg
Rene
1947.
Magritte,
De
Geneva 1947.
Andre Masson, Musee de
Gallimard,
effeuilles,
La
L'Anatomis
Paris
de I'lmage,
Le Terrain Vague,
1957.
Giorgio de Chirico
Hebdomeros, Editions
La Femme
Surrealistes,
Conquete
de
Les Cocus du
della
Visible,
Edi-
de
Sur-
London
1948.
vieil
La Table
Le Mythe tragique
I'Angelus
Millet,
de
Pauvert, Paris
1964.
Jean-Jacques
Lettres a
with
(conversations
Dali,
Sel,
Le
Entretiens
Cabanne),
Pierre
Max
Ernst
number of
Herold
Maltraite
de
le
La
1930.
Editions
Vision,
Dali,
Memorie
Paris
I'lrrationel,
Jacques
244
Jours
Hubert Juin
artists
1966.
Salvador
1962.
Arp
Paris
Hans Bellmer
Jacques
Writings by
Kurt Valentin,
New York
Plaisir de peindre,
Nice
1950.
peinture,
univers,
Le
La Diane Francaise,
Metamorphose
1943.
de
I' artiste,
London
1965.
8
5
13
List of illustrations
14
i
hiekonymus
bosch
The
Garden
of
Island of the
Kunstmuseum
Basle,
(detail
of
Basle,
Amy-
mone f.1498
16
Copper engraving
Paris, Musee du Petit-Palais
3
or
16th
Apotheosis of Semele
17th
sunset.
Kunstmuseum
Eskimo
art
Salmon Inua
After antoine
feathers
From
Alaska
Paris,
17
Eskimo
century
Market
From Arizona
Drawing
Paris,
francisco goya
us? 1796-9
Aquatint from the
psychique
hieronymus
Is
no
there
Paris,
one
to
21
series
bosch
Earthly Delights
c. 1
Los Caprichos
Garden
The
Host 1465-7
(detail of predella
the
23
Execution of the
24
hugo Wash
10 victor
Paris,
11
c.\
The
25
Maiden
PICA-
391,
March 1920
Bride stripped
Museum
of Art, Louise
191
Philadelphia,
870-6
Paris,
Dada
Apparition
Sketch
12
Meta-
de
Cover of No. 12 of
drawing 1862
moreau
National
Musee Victor-Hugo
gustave
Lesage' 1925
Institut
Typography by Tzara
woman)
repentant
Medium
'
Drawing
of
500
(detail
century
clan
Rive Gauche
Paris,
The
1 5
17
Kunstmuseum
26
the
No.
II
descending
191
24S
6 9
27
marcel duchamp
Apolinere enameled
40
1916-17
Readymade
marcel duchamp
I
Chocolate
Museum
to
(A
and reduced
works
of the
scale copies
artist's
Mme
Henry
(?)
collection
Stockholm, Nationalmuseum
46 giorgio de chirico Melancholy 1912
Walk 1914
man 1920
New
York,
man ray
Museum
lection
of Modern Art
New
York,
Museum
Mr
Neumann
collection
man ray
91
50
Wood
max
ernst
At
the
Rendezvous of
Friends 1922
36
Modern Art
of
Paris,
Collage
33
Herold collection
Paris, Jacques
Paris,
32
BRETON,
picture painted to
prove) 191
ANDRE
HEROLD,
solitude
little
42 JACQUES
30
Paris,
of Art, Louise
picabia
and not
of Modern Art
Grinder
Museum
York,
41 JACQUES
191
Philadelphia,
tell
New
of Art, Louise
No.
Museum
Philadelphia,
28
Legend 191
max ernst
of
Self-portrait
collection
1922 (detail
pi. jo)
52
37
atagaga 1920
Collage
Painting with
New
38 francis picabia
Cover
for Lit'terai'//re
53
1922
New
39
No.
7,
December 1922
246
York,
Histoire
London,
54
on
listoire
construction
of Modern Art
paper,
reproduced
in
Na/urc/le
Roland
max ernst
Frottage
wooden
Museum
max ernst Le
Frottagc
series
by a nightingale 1924
Penrose collection
on
paper,
Nature/le
reproduced
in
55
Infant
Andre
artist
witnesses
three
Breton,
Mmc
max ernst
the
1928
Brussels,
56
before
71
night
1923
Private collection
de
A ndroma che
chirico
Hector
and
91
andre masson
New
Battle of Fishes
Paint,
Paris, Galerie
in
1820
York,
Museum
of Modern Art
Winston
59
Lady
Portrait of a
1927
and pencil
York, Museum of Modern Art
Paint, sand
New
joan miro
1929
Goldschmidt collection
Brussels, B.
Louise Leiris
collection
60
will
know
nothing of
1923
New
history 1923
62
Museum
of Modern Art
bather playing
Francois Petit
York,
seated
bather,
1930
Woman
76 pablo Picasso
New
York,
Ganz
collection
78 yves
Mr
tanguy The
Louise Leiris
79 joan miro Portrait 1950
63
drawing, ink
1925
collection
Paris, Galerie
Louise Leiris
80 yves
in
81
the wilderness
66
York,
Museum
of Modern Art
Knokke-le-Zoute, G.
J.
Paris,
York,
Museum
of Modern Art
bird 1926
York,
in the
Configuration 1930
Philadelphia,
1927
83 jean arp
New
1942
Stone
Nellens col-
lection
69
divisibility
New
Infinite
1 941
New
tanguy
Buffalo,
sand
Museum
of Art, A. E.
Gallatin Collection
of Erik
Satie 1966
Paris, private collection
*47
86
man ray
New
Promenade 1941
Yale University
Haven,
Anonyme
Gallery, Societe
Art
Gilbert
W. Chapman
Collection
88
1938
London, Roland Penrose collection
89
1936
Indian ink drawing
Edward James
01
et la Belle Jardiniere
From La Femme
100
tetes,
published
Sleep 1937
collection
boiled beans
the
fetes,
Museum
Philadelphia,
mouse's
BUNUEL
103 LUIS
100
1936
1929
From La Femme
published
of Art
SALVADOR
and
DALI
Salvador dali
Edward James
1929
91
collection
d'or,
1930
1929
926
Plaster
93
Salvador dali
Memory 1931
New
York,
105
The
Persistence
of
106 alberto
The
Invisible
Object 1934-5
Bronze
107 alberto
Salvador dali
giacometti
lection
95
Plaster
Wood,
New
giacometti
The Palace at
4 a.m. 1932
glass,
York,
108 oscar
New
Museum
of Modern Art
York,
Paris 1965)
109 oscar
New
1934
Cleveland, A. Reynolds Morse collec-
gift
no
tion
dominguez
1939
1932
Venice,
1 1
dation
98 Salvador dali
Gouache
248
land-
scape 1932
Paris, private collection
Mae West
c.
1934-6
brauner
ii3 victor
The
Triumph
of
128 rene
Doubt 1946
Paris, Alexandre Tolas collection
brauner
114 victor
subjectivity
Totem
New
of wounded
brauner
Victor
brauner The
117
118
in the Ihirler
collection
licho
1943
Strange Case of
K 1934
York, Alexandre Iolas collection
Monsieur
New
Man
Hat 1964
New York, Simone Withers Swan
Victorios
the
in
948
116 victor
Philosophy
collection
115 victor
MAGRITTE
boudoir 1947
131
93 8
Photo-relief
133 paul
delvaux The
Ostend,
Museum
Age
Iron
voor
195
Schoone
Kunsten
134 paul delvaux The Hands (The Dream)
collection
1941
Paris,
135
lection
war
to
1936
120 HAxNS BELLMER Doll
I 93 6
(Cast in aluminium, 1965)
121
Brussels, E.L.T.
Private collection
Paris,
1942
Brussels,
123
Mme
rene magritte
Threatening
138 toyen In
139
rene magritte La
warmth of
the
the night
1968
savinio
marcel
DUCHAMP
Rrose Selavy
Alexandre
Iolas
Private collection
The
departure
of
Private collection
142
Bronze
alberto
Ulysses 1930
1967
Paris, Galerie
artist
Alexandre Iolas
magritte La
Portrait of Valentine
937
141
Paris, Galerie
roland PENROSE
1961
127 paul
Waldberg
Private collection
1928
126 renf.
Patrick
Collage
Weather
125
and
Line
collection
Why
not
sneeze
1921
Readymadc
249
143
New
Museum
York,
of Modern Art
1940
New
Museum
York,
158
bubbles 1948
man ray
Gift
Readymade
1943
Buffalo,
Wolfgang paalen
cover
furniture
andre breton
object
and pencil
Poem-object 1935
Minotaure,No.
Symbolically functioning
1,
1933
193
cavernes
Private collection
151
Leafy
1936
andre breton
of Modern Art
Art
of the object of
149
Museum
1921)
148
York,
collection
1 92
(replica
New
147
Paris 1938
of Modern Art
was
du
man ray
Internationale
145
At the 'Exposition
fur 1936
the Execution
December 1933
Being-object
163
to Sergeant
Dream (knave
(dedicated
1964-5
in Marseilles.
Being-object
of spades)
940
traced by Delanglade
153 'Exposition Internationale du Surrealisme', Galerie des Beaux-Arts,
Paris 1938
beds;
The
an
Marcel
Jean; paintings
Penrose and Masson
154 'Exposition
realisme',
Paris
1938
realisme
object
by
des
Never,
Dominguez; the
an
Paalen,
1944
Internationale
Galerie
Paris 1965)
by
du
Beaux-Arts,
object
New
Sur165
by
nonces faites a
New
Paris 1938
250
Petites
An-
Marie 195
coal
155
166
York,
Jungle
Museum
1943
of Modern Art
966
matta The
68 roberto
Unthinkable 1957
182 antoni
Paris,
170
Alexander calder
Profile of a
183
FERDINAND CHEVAL
man
Detail of
Alexander calder
Constellation with
Tower of Barbary
Drome
quadrilateral 1943
and
steel
Hautcrivcs,
Cincinnati,
185
col-
lection
173
tomb
Detail of Chcval's
wire
172 ROBERTO
Hautcrivcs,
Steel wire
Wood
plant-bolder
1912
.1928-30
171
pillar
New
GAUDi
1900-14
Drome
wifredo lam
Jungle 1944
186 FREDERICK
174 Alexander
KIESLER
House
EtldleSS
i960
calder One
black
Model
leaf,
discs
tion
steel
1966
Preliminary drawing
wire
Paris, Galerie
Maeght
188
175 arshile
Buffalo,
176 arshile
New
is the
Cock's
'Exposition
the
farm
Paris,
the
Besancon
ledoux
179
'Exposition
of
as seen
through
the
theatre
the
at
hector guimard
Sur-
Paris 1947
rcalisme', Galerie
du
Maeght,
Sur-
Paris 1947
windows
Barcelona
Maeght,
of gravity' 1947
'Exposition Internationale
191
Paris
du
Internationale
Decoration of a Metro
Les
190 roberto
pupil of
Bibliotheque Nationale
Barcelona
Lautreamont's
to
realisme', Galerie
entrance c.1900
181
allusion
Symbolic representation
auditorium
chevelure
1947
Chants de Maldoror
Maupertuis
one eye
Paris,
F aimer'
An
Perspective engraving of
guards'" house at
Bibliotheque Nationale
178 nicolas
of
ledoux
Internationale
realisme', Galerie
York,
77 Nicolas
(or
1947
Photo-object
de
1
green ray
shelf)
lisme',
Galerie
Maeght,
Paris
1947
Maeght,
Paris 1947
Deux
lies
251
New
Mr
York,
F.
Colin collection
211 jacques
195 joan miro
1964
sun 1949
Basle,
the
Carmel
1944
196
Private collection
1967
Paris, Galerie
Oh!
cutta !
Louise Leiris
Calcutta! Cal-
946
Private collection
198 yves
tanguy
New
1
York,
Museum
of Modern Art
200
max ernst
Aeolian harp
96
201
Maeght
of the
artist
First Thought
218
1965
Picture-object
Portrait of a
1952
Bead mosaic
Private collection
202
max ernst
The moon
is
a mute night-
ingale
1963
Private collection
203
Private collection
220
943
Private collection
brauner
Watercolour
Sweden, Malmo
being
95
221
222
Private collection
dali
Paris,
Cervantes'
novel.
herold Whirlwind
of signs
1946
Paris, collection
of the
artist
252
Illustration
by Arthur Rim-
baud 1958
for
208 jacques
Offering to the
over-
thrown 1957
Illustration
moon 1957
Paris, Galerie Francois Petit
223
Don Quixote
ladies of the
207 Salvador
camacho Ace
of Myths
1965
Paris,
Museum
retracted,
205 victor
The Toys of
Unreason 1958
204 victor
1959-60
111.
225)
realisme
Bronze
228 JEAN-CLAUDE
by R. Bcnayoun,
).-|.
Pauvort,
Paris 1965)
SILBERMANN
To
230 ALBERTO
GIRONELLA
Queen
Mariana
the
1
1964
Painting-object
Sly Sign
96
Paris,
231
andremasson
1941
Ink drawing
Paris,
Galcric Louise
I.ciris
Index
Bresdin, Rodolphe
Breton, Andre
Figures in
to the
italic refer
illustrations.
47, 53,
57,
45,47,48,
7,
8,
20,
9,
Salvador
Dali,
124,
3,
142,
148,
153,
159,
185,
in,
108,
118,
119,
140,
147,
151,
137, 235,
153,
54,
i57,
158,
159,
160,
163,
166,
170,
175,
28,
177,
184,
186,
189,
190,
Delvaux, Paul
39,
194,
195,
196,
197,
201,
27,
T
226,
240, 241,
106,
Dermee,
Paul
82-4
49,
Burra,
Edward
12, 12
Hugo
29
Jean-Louis
190,
243,
235,
170-1, 174
214,
239
Baskine, Maurice 193
Georges
171-4,
69, 239
Carrington,
201,
227,
118,
120, IC/J
234,
244,
117,
Leonora
154,
Aime
194
Marc '28
Char, Rene 194
Chagall,
Cheval,
Bosch, Hieronymus
^9,
',
10, 11,
9*,
254
195,
234,
243,
42,
Ferdinand
160,
1 J4,
236,
108,
163
142,
90,
32,
34,
146,
151,
162,
163,
166,
167,
168,
185,
190,
196,
215,
227,
232,
235, 236,
237,
240, 241,
244,
243,
24-8,
30,
142,
188
Diirer, Albrecht 11, 2
Ehrmann,
Gilles 184
Cesaire.
143,
35,
Enrico 224-5, 22 4
50,
27
Duchamp, Marcel
138
77,
18,
238
109, 119,
171,
124-7,
9,
Buffet, Gabrielle 41
Bataille,
180,
139,
Barrault,
151,
177,
135,
Ball,
150,
162,
143,
Baj,
149,
142,
4>J
Arenas, Braulio 193
Artaud, Antonin
138,
132,
8 , 59, 9 2 ,
83-7,
130,
141,
60,
95-
92,
119,
120,
Arcimboldo, Giuseppe
53,
18,
105,
27,
7,
99,
237
Aragon, Louis
Rene
Crevel,
77,
J
182-4,
153,
54,
117,
119,
156,
158,
178, 243
Max
Ernst,
53,
50,
138,
142,
143,
146,
150,
153,
154,
162,
164,
177,
190,
201,
213,
232,
234,
53-9,
152,
4J-9,
J7
Clerici, Fabricio 135
Cocteau, Jean 44
jo-6,
200-2
60-1,
6j,
89,
91,
Eticnne-Martin 191
Hernandez, Miguel
Filiger, Charles 18
Flerold, Jacques
Fine,
Fini,
Oronce 162
Leonor 212,
Finsterlein,
10,
186
42,
41,
Hugnet, Georges 92
Hugo, Valentine
148,
156,
47, 160
Henry
14, 138,
Janco, Marcel 32
Malkine, Georges
Gauguin, Paul 18
Gericault, Theodore 158
Jennings,
Humphrey
147,
138
162,
238,
Goya,
17J-6
Francisco
15,
218,
228, 7
193
Klee, Paul
244,
163,
175,
177,
Marinetti, F. T. 44
Martini, Alberto 134-5
53
239-40,
1 8 j,
Kubin,
Griinewald, Mathias 12
Lam, Wifredo
Alfred
167-8,
244,
Mesens, E. L. T.
22
92,
160, 168-71,
173,
203
Miro, Joan
96,
106,
143,
173,
70-4, 79,
194-h 216
I. D. 152, 160
Lecomte, Marcel 119
Hantal,
Le Corbusier
Momper, Joos
Hare,
Heine, Maurice
180,
158
194
77^
Lautreamont,
Lichtenberg, C. C. 140
200,
Jindrich
119,
Guillaume, Paul 56
Heisler,
172,
190
138, 239
204,
Kamrowsky, Gerome
50, 60,
20,
Masson, Andre
148,
50, 87-9,
177, 239, 8;
212,
121-6,
244,
141,
201,
238-9,
in,
127,
128-9, 199
Radovan 227
236,
Ivsic,
rarda 95,
Lorenteon, Waldemat 29
Loubchansky, Marcel le 21
119-24,
Sigmund
240
236,
Magritte, Rene
16, 10
130-1,
237-8, *3J
Lorca, Frederico
Hugo, Victor
James 190
Wilhclm
Freddie,
Freud,
169
40
Frazer,
Limbour, Georges 66
lirshfield,
208-11,
217
244, 214
Hermann
244,
197
208-
160,
de 13
Max
52
Munch, Edvard
21
255
'
''
R^y, Mfen
.^jHs
'
244,
5h
Redon, Odilon
Richet, Charles 47
Richter, Hans 32
Novalis 160
Max
116
Rimbaud, Arthur
Oelze, Richard 154-6, ij8
Suzuki,
3,
Ristic,
Rivera,
240
90, 143,
Marko
119
153,
22,
110-
201,
216,
(le
83,
Mimi
139,
Picabia, Francis
38,
32,
8,
95,
2I 6,
2 4 _I
43,
76-7,
Piero di
Cosimo
Pieyre
de
10, 158
Mandiargues,
Andre 178
Pollock, Jackson 164
Casamadra 71
Rauschcnberg, Robert
Rafols,
256
54,
151,
60,
157,
77162,
Dorothea
164,
Armand
66
Toyen
132-4,
Fabio de 232
Sanouillet, Michel 41, 243,
244
(Maria
195,
Cernisova)
242,
137-8,
140
Erik 89
Savinio, Alberto 135-8, 241,
Satie,
141
Savitry,
Emile 92
1,
242,
244, 212-13
30,
159,
31,
177,
Schroder-Sonnenstern,
161
227
Kay
Salacrou,
Sanctis,
73,
234
Henry 138
Penrose, Roland 138,
Benjamin
in,
Tanning,
227
Parisot,
Peret,
32, 86,
Dcua-
Parent,
Taeuber, Sophie
Tanguy, Yves
nier) 20, //
151,
190
Diego 159
Rodilla, Simon 184
Rouault, Georges 19
Rousseau, Henri
11,
Walter 222-
192, 241
Wolfgang
Max
134, 156,
Paalen,
Ayako 139
Svanberg,
Oppenhcim, Meret
136
Rcinhardt,
44, 45, 47
Sterpini, Ugo 232, 227
150,
Friedrich 227-8
Kurt 32, 23
Seligmann, Kurt 143,
Schwitters,
156,
162,
163,
//7,
154,
160,
192
Servranckx, Victor 120
Seurat,
Georges
18,
218,
2 34
Wolni, Adolph 26
Wols (Wolfgang Schulze)
214
Wright, Frank Lloyd 186
0~
wv
fthL.
,,
"
"
^^ WORLD OF ART
Surrealist Art
modern
art
its
it
aim was
in the
Andre Breton,
in 1966,
artists,
On
the cover:
ISBN 0-500-20097-1
5
Roland Penrose
Portrait of Valentine
1937
(detail)
Penrose Collection
Printed
Singapore
780500"200971'
1495