Surrealism
1 Founding of the movement
Max Ernst, The Elephant Celebes (1921), Tate, London
Surrealism is a cultural movement that began in the early
1920s, and is best known for its visual artworks and writ-
ings. The aim was to resolve the previously contradic-
tory conditions of dream and reality. Artists painted
unnerving, illogical scenes with photographic precision,
created strange creatures from everyday objects and de-
veloped painting techniques that allowed the unconscious
to express itself.[1]
Surrealist works feature the element of surprise, unex-
pected juxtapositions and non sequitur; however, many
Surrealist artists and writers regard their work as an ex-
pression of the philosophical movement rst and fore-
most, with the works being an artifact. Leader Andr
Breton was explicit in his assertion that Surrealism was,
above all, a revolutionary movement.
Surrealism developed out of the Dada activities during
World War I and the most important center of the move-
ment was Paris. From the 1920s onward, the movement
spread around the globe, eventually aecting the visual
arts, literature, lm, and music of many countries and
languages, as well as political thought and practice, phi- As they developed their philosophy, they believed that
losophy, and social theory.
The word 'surrealist' was coined by Guillaume Apolli-
naire and rst appeared in the preface to his play Les
Mamelles de Tirsias, which was written in 1903 and rst
performed in 1917.[2]
World War I scattered the writers and artists who had
been based in Paris, and in the interim many became
involved with Dada, believing that excessive rational
thought and bourgeois values had brought the conict of
the war upon the world. The Dadaists protested with anti-
art gatherings, performances, writings and art works. Af-
ter the war, when they returned to Paris, the Dada activ-
ities continued.
During the war, Andr Breton, who had trained in
medicine and psychiatry, served in a neurological hospi-
tal where he used Sigmund Freud's psychoanalytic meth-
ods with soldiers suering from shell-shock. Meeting the
young writer Jacques Vach, Breton felt that Vach was
the spiritual son of writer and pataphysics founder Alfred
Jarry. He admired the young writers anti-social attitude
and disdain for established artistic tradition. Later Bre-
ton wrote, In literature, I was successively taken with
Rimbaud, with Jarry, with Apollinaire, with Nouveau,
with Lautramont, but it is Jacques Vach to whom I owe
the most.[3]
Back in Paris, Breton joined in Dada activities and started
the literary journal Littrature along with Louis Aragon
and Philippe Soupault. They began experimenting with
automatic writingspontaneously writing without cen-
soring their thoughtsand published the writings, as well
as accounts of dreams, in the magazine. Breton and
Soupault delved deeper into automatism and wrote The
Magnetic Fields (1920).
Continuing to write, they came to believe that automa-
tism was a better tactic for societal change than the
Dada form of attack on prevailing values. The group
attracted additional members and grew to include writ-
ers and artists from various media such as Paul luard,
Benjamin Pret, Ren Crevel, Robert Desnos, Jacques
Baron, Max Morise,[4] Pierre Naville, Roger Vitrac, Gala
luard, Max Ernst, Salvador Dal, Luis Buuel, Man
Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges
Limbour, Antonin Artaud, Raymond Queneau, Andr
Masson, Joan Mir, Marcel Duchamp, Jacques Prvert,
and Yves Tanguy.[5][6]
Surrealism would advocate the idea that ordinary and de-
1
2 1 FOUNDING OF THE MOVEMENT

In 1924 two Surrealist factions declared their philosophy

in two separate Surrealist Manifestos. That same year the
Bureau of Surrealist Research was established, and began
publishing the journal La Rvolution surraliste.

1.1 Surrealist Manifestos

Cover of the rst issue of La Rvolution surraliste, December

1924.

pictive expressions are vital and important, but that the

sense of their arrangement must be open to the full range
of imagination according to the Hegelian Dialectic. They
also looked to the Marxist dialectic and the work of such
theorists as Walter Benjamin and Herbert Marcuse.
Freuds work with free association, dream analysis, and
the unconscious was of utmost importance to the Surreal-
ists in developing methods to liberate imagination. They
Yvan Goll, Surralisme, Manifeste du surralisme,[9] Volume 1,
embraced idiosyncrasy, while rejecting the idea of an un-
Number 1, October 1, 1924, cover by Robert Delaunay
derlying madness. As Salvador Dal later proclaimed,
There is only one dierence between a madman and me.
I am not mad.[4] Leading up to 1924, two rival surrealist groups had
formed. Each group claimed to be successors of a
Beside the use of dream analysis, they emphasized that revolution launched by Guillaume Apollinaire. One
one could combine inside the same frame, elements not group, led by Yvan Goll, consisted of Pierre Albert-Birot,
normally found together to produce illogical and startling Paul Derme, Cline Arnauld, Francis Picabia, Tristan
eects.[7] Breton included the idea of the startling jux- Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Ar-
tapositions in his 1924 manifesto, taking it in turn from land, Joseph Delteil, Jean Painlev and Robert Delaunay,
a 1918 essay by poet Pierre Reverdy, which said: a jux- among others.[10]
taposition of two more or less distant realities. The more
the relationship between the two juxtaposed realities is The other group, led by Breton, included Louis Aragon,
distant and true, the stronger the image will be -- the Robert Desnos, Paul luard, Jacques Baron, Jacques-
greater its emotional power and poetic reality.[8] Andr Boiard, Jean Carrive, Ren Crevel and Georges
Malkine, among others.[11]
The group aimed to revolutionize human experience, in
its personal, cultural, social, and political aspects. They Yvan Goll published the Manifeste du surralisme,[9] 1 Oc-
wanted to free people from false rationality, and restric- tober 1924, in his rst and only issue of Surralisme two
tive customs and structures. Breton proclaimed that the weeks prior to the release of Bretons Manifeste du sur-
true aim of Surrealism was long live the social revolu- ralisme, published by ditions du Sagittaire, 15 October
tion, and it alone!" To this goal, at various times Surreal- 1924.
ists aligned with communism and anarchism. Goll and Breton clashed openly, at one point literally
 3

ghting, at the Comdie des Champs-lyses,[10] over the

rights to the term 'Surrealism'. In the end, Breton won the
battle through tactical and numerical superiority.[12][13]
Though the quarrel over the anteriority of 'Surrealism'
concluded with the victory of Breton, the history of sur-
realism from that moment would remain marked by frac-
tures, resignations, and resounding excommunications,
with each surrealist having their own view of the issue
and goals, and accepting more or less the denitions laid
out by Andr Breton.[14][15]
Bretons 1924 Surrealist Manifesto denes the purposes
of Surrealism. He included citations of the inuences on
Surrealism, examples of Surrealist works, and discussion
of Surrealist automatism. He provided the following def-
initions:

Dictionary: Surrealism, n. Pure psychic

automatism, by which one proposes to express,
either verbally, in writing, or by any other
manner, the real functioning of thought. Andr Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x
Dictation of thought in the absence of all 20.6 cm. Museum of Modern Art, New York.
control exercised by reason, outside of all
aesthetic and moral preoccupation.

Encyclopedia: Surrealism. Philosophy.

Surrealism is based on the belief in the superior
reality of certain forms of previously neglected
associations, in the omnipotence of dream, in
the disinterested play of thought. It tends to
ruin once and for all other psychic mechanisms
and to substitute itself for them in solving all
the principal problems of life.[16]

1.2 La Rvolution surraliste

Shortly after the release of Bretons Surrealist Manifesto,

the Surrealists published the inaugural issue of La Rvo-
lution surraliste. Publication continued into 1929. As
the rst directors, Naville and Pret modeled the format
of the journal on the conservative scientic review La Na-
ture. To the Surrealists delight, the journal was consis-
tently scandalous and revolutionary. While the focus was
on writing, the journal also included reproductions of art,
among them works by Giorgio de Chirico, Ernst, Masson,
and Man Ray.
Giacometti's Woman with Her Throat Cut, 1932 (cast 1949),
Museum of Modern Art, New York City

1.3 Bureau of Surrealist Research

2 Expansion
The Bureau of Surrealist Research (Centrale Surraliste)
was the center for Surrealist writers and artists to meet, The movement in the mid-1920s was characterized by
hold discussions, and conduct interviews. They investi- meetings in cafes where the Surrealists played collab-
gated speech under trance. orative drawing games, discussed the theories of Sur-
4 2 EXPANSION

realism, and developed a variety of techniques such as

automatic drawing. Breton initially doubted that visual
arts could even be useful in the Surrealist movement since
they appeared to be less malleable and open to chance and
automatism. This caution was overcome by the discovery
of such techniques as frottage and decalcomania.
Soon more visual artists became involved, including
Giorgio de Chirico, Max Ernst, Joan Mir, Francis Pi-
cabia, Yves Tanguy, Salvador Dal, Luis Buuel, Alberto
Giacometti, Valentine Hugo, Mret Oppenheim, Toyen,
Kansuke Yamamoto and later after the second war:
Enrico Donati. Though Breton admired Pablo Picasso
and Marcel Duchamp and courted them to join the move-
ment, they remained peripheral.[17] More writers also Giorgio de Chirico's The Red Tower (La Tour Rouge) (1913),
joined, including former Dadaist Tristan Tzara, Ren Guggenheim Museum
Char, and Georges Sadoul.
In 1925 an autonomous Surrealist group formed in Brus-
sels. The group included the musician, poet, and artist away from the viewer, and the juxtaposition of a bust with
E. L. T. Mesens, painter and writer Ren Magritte, Paul glasses and a sh as a relief dees conventional expla-
Noug, Marcel Lecomte, and Andr Souris. In 1927 they nation. He was also a writer whose novel Hebdomeros
were joined by the writer Louis Scutenaire. They cor- presents a series of dreamscapes with an unusual use of
responded regularly with the Paris group, and in 1927 punctuation, syntax, and grammar designed to create an
both Goemans and Magritte moved to Paris and fre- atmosphere and frame its images. His images, including
quented Bretons circle.[5] The artists, with their roots in set designs for the Ballets Russes, would create a decora-
Dada and Cubism, the abstraction of Wassily Kandinsky, tive form of Surrealism, and he would be an inuence on
Expressionism, and Post-Impressionism, also reached to the two artists who would be even more closely associated
older bloodlines such as Hieronymus Bosch, and the so- with Surrealism in the public mind: Dal and Magritte.
called primitive and naive arts. He would, however, leave the Surrealist group in 1928.

Andr Masson's automatic drawings of 1923 are often In 1924, Mir and Masson applied Surrealism to paint-
used as the point of the acceptance of visual arts and the ing. The rst Surrealist exhibition, La Peinture Surreal-
break from Dada, since they reect the inuence of the iste, was held at Galerie Pierre in Paris in 1925. It dis-
idea of the unconscious mind. Another example is Gi- played works by Masson, Man Ray, Paul Klee, Mir,
acomettis 1925 Torso, which marked his movement to and others. The show conrmed that Surrealism had a
simplied forms and inspiration from preclassical sculp- component in the visual arts (though it had been initially
ture. debated whether this was possible), and techniques from
Dada, such as photomontage, were used. The following
However, a striking example of the line used to divide year, on March 26, 1926 Galerie Surraliste opened with
Dada and Surrealism among art experts is the pairing of an exhibition by Man Ray. Breton published Surrealism
1925s Little Machine Constructed by Minimax Dadamax and Painting in 1928 which summarized the movement to
in Person (Von minimax dadamax selbst konstruiertes that point, though he continued to update the work until
maschinchen)[18] with The Kiss (Le Baiser)[19] from 1927 the 1960s.
by Max Ernst. The rst is generally held to have a dis-
tance, and erotic subtext, whereas the second presents an
erotic act openly and directly. In the second the inuence 2.1 Literary Surrealism
of Mir and the drawing style of Picasso is visible with
the use of uid curving and intersecting lines and colour,
The rst Surrealist work, according to leader Breton, was
whereas the rst takes a directness that would later be in-
Les Champs Magntiques (MayJune 1919). Littrature
uential in movements such as Pop art.
contained automatist works and accounts of dreams. The
Giorgio de Chirico, and his previous development of magazine and the portfolio both showed their disdain for
metaphysical art, was one of the important joining g- literal meanings given to objects and focused rather on the
ures between the philosophical and visual aspects of Sur- undertones, the poetic undercurrents present. Not only
realism. Between 1911 and 1917, he adopted an unorna- did they give emphasis to the poetic undercurrents, but
mented depictional style whose surface would be adopted also to the connotations and the overtones which exist in
by others later. The Red Tower (La tour rouge) from 1913 ambiguous relationships to the visual images.
shows the stark colour contrasts and illustrative style later
Because Surrealist writers seldom, if ever, appear to or-
adopted by Surrealist painters. His 1914 The Nostalgia of
ganize their thoughts and the images they present, some
the Poet (La Nostalgie du pote)[20] has the gure turned
people nd much of their work dicult to parse. This
2.2 Surrealist lms
Ren Magritte's This is not a pipe. The Treachery of Images
192829, Los Angeles County Museum of Art
notion however is a supercial comprehension, prompted
no doubt by Bretons initial emphasis on automatic writ-
ing as the main route toward a higher reality. Butas
in Bretons casemuch of what is presented as purely
automatic is actually edited and very thought out. Bre-
ton himself later admitted that automatic writings cen-
trality had been overstated, and other elements were in-
troduced, especially as the growing involvement of vi-
sual artists in the movement forced the issue, since au-
tomatic painting required a rather more strenuous set of
approaches. Thus such elements as collage were intro-
duced, arising partly from an ideal of startling juxtapo-
sitions as revealed in Pierre Reverdy's poetry. Andas
in Magrittes case (where there is no obvious recourse to
either automatic techniques or collage)the very notion
of convulsive joining became a tool for revelation in and
of itself. Surrealism was meant to be always in ux
to be more modern than modernand so it was natural
there should be a rapid shuing of the philosophy as new
challenges arose.
Surrealists revived interest in Isidore Ducasse, known by
his pseudonym Comte de Lautramont, and for the line
beautiful as the chance meeting on a dissecting table of a
sewing machine and an umbrella, and Arthur Rimbaud,
two late 19th-century writers believed to be the precur-
sors of Surrealism.
Examples of Surrealist literature are Artauds Le Pse-
Nerfs (1926), Aragons Irenes Cunt (1927), Prets Death
to the Pigs (1929), Crevels Mr. Knife Miss Fork (1931),
Sadegh Hedayat's the Blind Owl (1937), and Bretons Sur
la route de San Romano (1948). 2.4
La Rvolution surraliste continued publication into 1929
with most pages densely packed with columns of text, but
also included reproductions of art, among them works by
de Chirico, Ernst, Masson, and Man Ray. Other works
included books, poems, pamphlets, automatic texts and
theoretical tracts.
5
2.2 Surrealist lms
Main article: Surrealist cinema
Early lms by Surrealists include:
Entr'acte by Ren Clair (1924)
La Coquille et le clergyman by Germaine Dulac,
screenplay by Antonin Artaud (1928)
L'toile de mer by Man Ray (1928)
Un Chien Andalou by Luis Buuel and Salvador Dal
(1929)
L'ge d'Or by Buuel and Dal (1930)
Le sang d'un pote by Jean Cocteau (1930)
2.3 Surrealist theatre
The word surrealist was rst used by Guillaume Apolli-
naire to describe his 1917 play Les Mamelles de Tirsias
(The Breasts of Tiresias), which was later adapted into an
opera by Francis Poulenc.
Antonin Artaud, an early Surrealist, rejected the major-
ity of Western theatre as a perversion of its original in-
tent, which he felt should be a mystical, metaphysical ex-
perience. He thought that rational discourse comprised
falsehood and illusion. Theorising a new theatrical form
that would be immediate and direct, that would link the
unconscious minds of performers and spectators in a sort
of ritual event, Artaud created the Theatre of Cruelty,
in which emotions, feelings, and the metaphysical were
expressed not through language but physically, creating
a mythological, archetypal, allegorical vision, closely re-
lated to the world of dreams.[21][22]
The other major theatre practitioner to have experi-
mented with surrealism in the theatre is the Spanish play-
wright and director Federico Garca Lorca, particularly
in his plays The Public (1930), When Five Years Pass
(1931), and Play Without a Title (1935). Other surreal-
ist plays include Aragons Backs to the Wall (1925) and
Roger Vitrac's The Mysteries of Love (1927) and Victor,
or The Children Take Over (1928).[23] Gertrude Stein's
opera Doctor Faustus Lights the Lights (1938) has also
been described as American Surrealism, though it is
also related to a theatrical form of cubism.[24]
Music by Surrealists
Main article: Surrealist music
In the 1920s several composers were inuenced by Sur-
realism, or by individuals in the Surrealist movement.
Among them were Bohuslav Martin, Andr Souris, Erik
6 3 SURREALISM AND INTERNATIONAL POLITICS

Satie, and Edgard Varse, who stated that his work Ar- Bretons followers, along with the Communist Party, were
cana was drawn from a dream sequence. [25] Souris in working for the liberation of man. However, Bretons
particular was associated with the movement: he had group refused to prioritize the proletarian struggle over
a long relationship with Magritte, and worked on Paul radical creation such that their struggles with the Party
Noug's publication Adieu Marie. made the late 1920s a turbulent time for both. Many in-
Germaine Tailleferre of the French group Les Six wrote dividuals closely associated with Breton, notably Louis
several works which could be considered to be inspired by Aragon, left his group to work more closely with the
Surrealism, including the 1948 Ballet Paris-Magie (sce- Communists.
nario by Lise Deharme), the Operas La Petite Sirne Surrealists have often sought to link their eorts with po-
(book by Philippe Soupault) and Le Matre (book by Eu- litical ideals and activities. In the Declaration of January
gne Ionesco). Tailleferre also wrote popular songs to 27, 1925,[26] for example, members of the Paris-based
texts by Claude Marci, the wife of Henri Jeanson, whose Bureau of Surrealist Research (including Andr Breton,
portrait had been painted by Magritte in the 1930s. Louis Aragon, and, Antonin Artaud, as well as some two
Even though Breton by 1946 responded rather negatively dozen others) declared their anity for revolutionary pol-
to the subject of music with his essay Silence is Golden, itics. While this was initially a somewhat vague formula-
later Surrealists, such as Paul Garon, have been interested tion, by the 1930s many Surrealists had strongly identied
inand found parallels toSurrealism in the improvisa- themselves with communism. The foremost document
tion of jazz and the blues. Jazz and blues musicians have of this tendency within Surrealism
[27]
is the Manifesto for
occasionally reciprocated this interest. For example, the a Free Revolutionary Art, published under the names
1976 World Surrealist Exhibition included performances of Breton and Diego Rivera, but actually co-authored by
[28]
by David Honeyboy Edwards. Breton and Leon Trotsky.
However, in 1933 the Surrealists assertion that a
'proletarian literature' within a capitalist society was im-
possible led to their break with the Association des
3 Surrealism and international Ecrivains et Artistes Rvolutionnaires, and the expul-
politics sion of Breton, luard and Crevel from the Communist
Party.[5]
Surrealism as a political force developed unevenly around In 1925, the Paris Surrealist group and the extreme left
the world: in some places more emphasis was on artis- of the French Communist Party came together to support
tic practices, in other places on political practices, and Abd-el-Krim, leader of the Rif uprising against French
in other places still, Surrealist praxis looked to supersede colonialism in Morocco. In an open letter to writer and
both the arts and politics. During the 1930s, the Surre- French ambassador to Japan, Paul Claudel, the Paris
alist idea spread from Europe to North America, South group announced:
America (founding of the Mandrgora group in Chile in
1938), Central America, the Caribbean, and throughout We Surrealists pronounced ourselves in favour
Asia, as both an artistic idea and as an ideology of polit- of changing the imperialist war, in its chronic
ical change. and colonial form, into a civil war. Thus we
Politically, Surrealism was Trotskyist, communist, or placed our energies at the disposal of the rev-
anarchist. The split from Dada has been characterised olution, of the proletariat and its struggles, and
as a split between anarchists and communists, with the dened our attitude towards the colonial prob-
Surrealists as communist. Breton and his comrades sup- lem, and hence towards the colour question.
ported Leon Trotsky and his International Left Opposi-
tion for a while, though there was an openness to an- The anticolonial revolutionary and proletarian politics of
archism that manifested more fully after World War II. Murderous Humanitarianism (1932) which was drafted
Some Surrealists, such as Benjamin Pret, Mary Low, mainly by Ren Crevel, signed by Andr Breton, Paul
and Juan Bre, aligned with forms of left communism. luard, Benjamin Pret, Yves Tanguy, and the Martini-
Others fought for complete liberty from political ideolo- quan Surrealists Pierre Yoyotte and J.M. Monnerot per-
gies, like Wolfgang Paalen, who, after Trotzkys assas- haps makes it the original document of what is later called
sination in Mexico, prepared a schism between art and 'black Surrealism',[29] although it is the contact between
politics through his counter-surrealist art-magazine DYN Aim Csaire and Breton in the 1940s in Martinique that
and so prepared the ground for the abstract expressionists. really lead to the communication of what is known as
Dal supported capitalism and the fascist dictatorship of 'black Surrealism'.
Francisco Franco but cannot be said to represent a trend Anticolonial revolutionary writers in the Ngritude move-
in Surrealism in this respect; in fact he was considered, by ment of Martinique, a French colony at the time, took
Breton and his associates, to have betrayed and left Surre- up Surrealism as a revolutionary method - a critique of
alism. Benjamin Pret, Mary Low and Juan Bre joined European culture and a radical subjective. This linked
the POUM during the Spanish Civil War. with other Surrealists and was very important for the
 7

subsequent development of Surrealism as a revolution-
ary praxis. The journal Tropiques, featuring the work of
Csaire along with Suzanne Csaire, Ren Mnil, Lucie
Thse, Aristide Mauge and others, was rst published
in 1941.[30]
It is interesting to note that when in 1938 Andr Breton
traveled with his wife the painter Jacqueline Lamba to
Mexico to meet Trotsky (staying as the guest of Diego
Rivera's former wife Guadalupe Marin), he met Frida
Kahlo and saw her paintings for the rst time. Breton
declared Kahlo to be an innate Surrealist painter.[31]
3.1 Internal politics
archism that surrealism rst recognised itself.[33] Bre-
ton was consistent in his support for the francophone An-
archist Federation and he continued to oer his solidar-
ity after the Platformists supporting Fontenis transformed
the FA into the Fdration Communiste Libertaire. He
was one of the few intellectuals who continued to oer
his support to the FCL during the Algerian war when the
FCL suered severe repression and was forced under-
ground. He sheltered Fontenis whilst he was in hiding.
He refused to take sides on the splits in the French an-
archist movement and both he and Peret expressed soli-
darity as well with the new Fdration anarchiste set up
by the synthesist anarchists and worked in the Antifascist
Committees of the 60s alongside the FA.[33]

In 1929 the satellite group associated with the journal Le 4 Golden age
Grand Jeu, including Roger Gilbert-Lecomte, Maurice
Henry and the Czech painter Josef Sima, was ostracized.
Also in February, Breton asked Surrealists to assess their Throughout the 1930s, Surrealism continued to become
degree of moral competence, and theoretical rene- more visible to the public at large. A Surrealist group de-
ments included in the second manifeste du surralisme veloped in London and, according to Breton, their 1936
excluded anyone reluctant to commit to collective ac- London International Surrealist Exhibition was a high-
tion, a list which included Leiris, Georges Limbour, Max water mark of the period and became the model for in-
Morise, Baron, Queneau, Prvert, Desnos, Masson and ternational exhibitions. Another English Surrealist group
Boiard. Excluded members launched a counterattack, developed in Birmingham, meanwhile, and was distin-
sharply criticizing Breton in the pamphlet Un Cadavre, guished by its opposition to the London surrealists and
which featured a picture of Breton wearing a crown of preferences for surrealisms French heartland. The two
thorns. The pamphlet drew upon an earlier act of sub- groups would reconcile later in the decade.
version by likening Breton to Anatole France, whose un- Dal and Magritte created the most widely recognized im-
questioned value Breton had challenged in 1924. ages of the movement. Dal joined the group in 1929, and
In hindsight, the disunion of 1929-30 and the eects of participated in the rapid establishment of the visual style
Un Cadavre had very little negative impact upon Surre- between 1930 and 1935.
alism as Breton saw it, since core gures such as Aragon, Surrealism as a visual movement had found a method: to
Crevel, Dal and Buuel remained true the idea of group expose psychological truth; stripping ordinary objects of
action, at least for the time being. The success (or at their normal signicance, to create a compelling image
least the controversy) of Dal and Buuels lm L'Age that was beyond ordinary formal organization, in order to
d'Or in December 1930 had a regenerative eect, draw- evoke empathy from the viewer.
ing a number of new recruits, and encouraging countless 1931 was a year when several Surrealist painters pro-
new artistic works the following year and throughout the duced works which marked turning points in their stylistic
1930s. evolution: Magrittes Voice of Space (La Voix des airs)[34]
Disgruntled surrealists moved to the periodical is an example of this process, where three large spheres
Documents, edited by Georges Bataille, whose anti- representing bells hang above a landscape. Another Sur-
idealist materialism formed a hybrid Surrealism realist landscape from this same year is Yves Tanguy's
intending to expose the base instincts of humans.[5][32] Promontory Palace (Palais promontoire), with its molten
To the dismay of many, Documents zzled out in 1931, forms and liquid shapes. Liquid shapes became the trade-
just as Surrealism seemed to be gathering more steam. mark of Dal, particularly in his The Persistence of Mem-
There were a number of reconciliations after this period ory, which features the image of watches that sag as if
of disunion, such as between Breton and Bataille, while they were melting.
Aragon left the group after committing himself to the The characteristics of this stylea combination of the
French Communist Party in 1932. More members were depictive, the abstract, and the psychologicalcame to
ousted over the years for a variety of infractions, both stand for the alienation which many people felt in the
political and personal, while others left of to pursue cre- modern period, combined with the sense of reaching
ativity of their own style. more deeply into the psyche, to be made whole with
By the end of World War II the surrealist group led by ones individuality.
Andr Breton decided to explicitly embrace anarchism. Between 1930 and 1933, the Surrealist Group in Paris is-
In 1952 Breton wrote It was in the black mirror of an- sued the periodical Le Surralisme au service de la rvo-
8 4 GOLDEN AGE

lution as the successor of La Rvolution surraliste.
From 1936 through 1938 Wolfgang Paalen, Gordon On-
slow Ford, and Roberto Matta joined the group. Paalen
contributed Fumage and Onslow Ford Coulage as new
pictorial automatic techniques.
Long after personal, political and professional tensions
fragmented the Surrealist group, Magritte and Dal con-
tinued to dene a visual program in the arts. This pro-
gram reached beyond painting, to encompass photogra-
phy as well, as can be seen from a Man Ray self-portrait,
whose use of assemblage inuenced Robert Rauschen-
berg's collage boxes.
evening dress. Surrealist Street lled one side of the
lobby with mannequins dressed by various Surreal-
ists. Paalen and Duchamp designed the main hall
to seem like subterranean cave with 1,200 coal bags
suspended from the ceiling over a coal brazier with
a single light bulb which provided the only light-
ing, as well as the oor covered with humid leaves
and mud.[35] The patrons were given ashlights with
which to view the art. On the oor Wolfgang Paalen
created a small lake with grasses and the aroma
of roasting coee lled the air. Much to the Sur-
realists satisfaction the exhibition scandalized the
viewers.[17]

4.1 World War II and the Post War period

Max Ernst, L'Ange du Foyer ou le Triomphe du Surralisme

(1937), private collection.

During the 1930s Peggy Guggenheim, an important

American art collector, married Max Ernst and began
promoting work by other Surrealists such as Yves Tan-
guy and the British artist John Tunnard.
Major exhibitions in the 1930s

1936 - London International Surrealist Exhibition is

organised in London by the art historian Herbert
Yves Tanguy Indenite Divisibility 1942, Albright Knox Art
Read, with an introduction by Andr Breton.
Gallery, Bualo, New York
1936 - Museum of Modern Art in New York shows
the exhibition Fantastic Art, Dada and Surrealism. World War II created havoc not only for the general pop-
ulation of Europe but especially for the European artists
1938 - A new Exposition Internationale du Sur- and writers that opposed Fascism, and Nazism. Many im-
ralisme was held at the Beaux-arts Gallery, Paris, portant artists ed to North America, and relative safety
with more than 60 artists from dierent countries, in the United States. The art community in New York
and showed around 300 paintings, objects, col- City in particular was already grappling with Surrealist
lages, photographs and installations. The Surre- ideas and several artists like Arshile Gorky, Jackson Pol-
alists wanted to create an exhibition which in it- lock, and Robert Motherwell converged closely with the
self would be a creative act and called on Marcel surrealist artists themselves, albeit with some suspicion
Duchamp, Wolfgang Paalen, Man Ray and others and reservations. Ideas concerning the unconscious and
to do so. At the exhibitions entrance Salvador Dal dream imagery were quickly embraced. By the Second
placed his Rainy Taxi (an old taxi rigged to produce World War, the taste of the American avant-garde in
a steady drizzle of water down the inside of the win- New York City swung decisively towards Abstract Ex-
dows, and a shark-headed creature in the drivers pressionism with the support of key taste makers, in-
seat and a blond mannequin crawling with live snails cluding Peggy Guggenheim, Leo Steinberg and Clement
in the back) greeted the patrons who were in full Greenberg. However, it should not be easily forgotten
4.1 World War II and the Post War period 9

that Abstract Expressionism itself grew directly out of the ment, and organized an exhibition of current Surrealist
meeting of American (particularly New York) artists with work in 1978 in response to an earlier show which in-
European Surrealists self-exiled during World War II. In furiated him because it did not properly represent Sur-
particular, Gorky and Paalen inuenced the development realism. Maddoxs exhibition, titled Surrealism Unlim-
of this American art form, which, as Surrealism did, cel- ited, was held in Paris and attracted international atten-
ebrated the instantaneous human act as the well-spring tion. He held his last one-man show in 2002, and died
of creativity. The early work of many Abstract Expres- three years later. Magrittes work became more realistic
sionists reveals a tight bond between the more super- in its depiction of actual objects, while maintaining the el-
cial aspects of both movements, and the emergence (at a ement of juxtaposition, such as in 1951s Personal Values
later date) of aspects of Dadaistic humor in such artists (Les Valeurs Personnelles)[36] and 1954s Empire of Light
as Rauschenberg sheds an even starker light upon the con- (LEmpire des lumires).[37] Magritte continued to pro-
nection. Up until the emergence of Pop Art, Surrealism duce works which have entered artistic vocabulary, such
can be seen to have been the single most important inu- as Castle in the Pyrenees (Le Chteau des Pyrnes),[38]
ence on the sudden growth in American arts, and even in which refers back to Voix from 1931, in its suspension
Pop, some of the humor manifested in Surrealism can be over a landscape.
found, often turned to a cultural criticism. Other gures from the Surrealist movement were ex-
The Second World War overshadowed, for a time, almost pelled. Several of these artists, like Roberto Matta (by
all intellectual and artistic production. In 1939 Wolfgang his own description) remained close to Surrealism.[17]
Paalen was the rst to leave Paris for the New World as After the crushing of the Hungarian Revolution of 1956,
exile. After a long trip through the forests of British- Endre Rozsda returned to Paris to continue creating his
Columbia, he settled in Mexico and founded his inu- own word that had been transcended the surrealism. The
ential art-magazine Dyn. In 1940 Yves Tanguy married preface to his rst exhibition in the Furstenberg Gallery
American Surrealist painter Kay Sage. In 1941, Breton (1957) was written by Breton yet.[39]
went to the United States, where he co-founded the short-
lived magazine VVV with Max Ernst, Marcel Duchamp, Many new artists explicitly took up the Surrealist banner
and the American artist David Hare. However, it was for themselves. Dorothea Tanning and Louise Bourgeois
the American poet, Charles Henri Ford, and his maga- continued to work, for example, with Tannings Rainy
zine View which oered Breton a channel for promot- Day Canape from 1970. Duchamp continued to produce
ing Surrealism in the United States. The View special sculpture in secret including an installation with the real-
issue on Duchamp was crucial for the public understand- istic depiction of a woman viewable only through a peep-
ing of Surrealism in America. It stressed his connections hole.
to Surrealist methods, oered interpretations of his work Breton continued to write and espouse the importance of
by Breton, as well as Bretons view that Duchamp repre- liberating of the human mind, as with the publication The
sented the bridge between early modern movements, such Tower of Light in 1952. Bretons return to France after
as Futurism and Cubism, to Surrealism. Wolfgang Paalen the War, began a new phase of Surrealist activity in Paris,
left the group in 1942 due to political/philosophical dif- and his critiques of rationalism and dualism found a new
ferences with Breton. audience. Breton insisted that Surrealism was an ongoing
Though the war proved disruptive for Surrealism, the revolt against the reduction of humanity to market rela-
works continued. Many Surrealist artists continued to ex- tionships, religious gestures and misery and to espouse
plore their vocabularies, including Magritte. Many mem- the importance of liberating the human mind.
bers of the Surrealist movement continued to correspond Major exhibitions of the 1940s, '50s and '60s
and meet. While Dal may have been excommunicated
by Breton, he neither abandoned his themes from the
1930s, including references to the persistence of time 1942 - First Papers of Surrealism - New York -
in a later painting, nor did he become a depictive pom- The Surrealists again called on Duchamp to design
pier. His classic period did not represent so sharp a break an exhibition. This time he wove a 3-dimensional
with the past as some descriptions of his work might por- web of string throughout the rooms of the space, in
tray, and some, such as Andr Thirion, argued that there some cases making it almost impossible to see the
were works of his after this period that continued to have works.[40] He made a secret arrangement with an as-
some relevance for the movement. sociates son to bring his friends to the opening of the
show, so that when the nely dressed patrons arrived
During the 1940s Surrealisms inuence was also felt they found a dozen children in athletic clothes kick-
in England and America. Mark Rothko took an inter- ing and passing balls, and skipping rope. His design
est in biomorphic gures, and in England Henry Moore, for the shows catalog included found, rather than
Lucian Freud, Francis Bacon and Paul Nash used or ex- posed, photographs of the artists.[17]
perimented with Surrealist techniques. However, Conroy
Maddox, one of the rst British Surrealists whose work in 1947 - International Surrealist Exhibition - Galerie
this genre dated from 1935, remained within the move- Maeght, Paris[41]
10
1959 - International Surrealist Exhibition - Paris
1960 - Surrealist Intrusion in the Enchanters Domain
- New York
5 Post-Breton Surrealism
Roberto Matta. Elle Loge La Folie, oil on canvas, 1970.
There is no clear consensus about the end, or if there was
an end, to the Surrealist movement. Some art histori-
ans suggest that World War II eectively disbanded the
movement. However, art historian Sarane Alexandrian
(1970) states, the death of Andr Breton in 1966 marked
the end of Surrealism as an organized movement. There
have also been attempts to tie the obituary of the move-
ment to the 1989 death of Salvador Dal.
In the 1960s, the artists and writers associated with the
Situationist International were closely associated with
Surrealism. While Guy Debord was critical of and dis-
tanced himself from Surrealism, others, such as Asger
Jorn, were explicitly using Surrealist techniques and
methods. The events of May 1968 in France included
a number of Surrealist ideas, and among the slogans the
students spray-painted on the walls of the Sorbonne were
familiar Surrealist ones. Joan Mir would commemo-
rate this in a painting titled May 1968. There were also
groups who associated with both currents and were more
attached to Surrealism, such as the Revolutionary Surre-
alist Group.
In Europe and all over the world since the 1960s, artists
have combined Surrealism with what is believed to be a
classical 16th century technique called mischtechnik, a
kind of mix of egg tempera and oil paint rediscovered by
Ernst Fuchs, a contemporary of Dal, and now practiced
and taught by many followers, including Robert Venosa
and Chris Mars. The former curator of the San Francisco
Museum of Modern Art, Michael Bell, has called this
style veristic Surrealism, which depicts with meticulous
clarity and great detail a world analogous to the dream
world. Other tempera artists, such as Robert Vickrey,
regularly depict Surreal imagery.
During the 1980s, behind the Iron Curtain, Surrealism
again entered into politics with an underground artis-
tic opposition movement known as the Orange Alterna-
tive. The Orange Alternative was created in 1981 by
Waldemar Fydrych (alias 'Major'), a graduate of history
and art history at the University of Wrocaw. They used
Surrealist symbolism and terminology in their large scale
6 IMPACT OF SURREALISM
happenings organized in the major Polish cities during the
Jaruzelski regime, and painted Surrealist grati on spots
covering up anti-regime slogans. Major himself was the
author of a Manifesto of Socialist Surrealism. In this
manifesto, he stated that the socialist (communist) sys-
tem had become so Surrealistic that it could be seen as
an expression of art itself.
Surrealistic art also remains popular with museum pa-
trons. The Guggenheim Museum in New York City held
an exhibit, Two Private Eyes, in 1999, and in 2001 Tate
Modern held an exhibition of Surrealist art that attracted
over 170,000 visitors. In 2002 the Met in New York City
held a show, Desire Unbound, and the Centre Georges
Pompidou in Paris a show called La Rvolution surral-
iste.
Surrealists groups and literary publications have contin-
ued to be active up to the present day, with groups such as
the Czech Surrealist Group, Stockholm Surrealist Group,
and the Chicago Surrealist Group. Jan vankmajer of
the Czech group continues to make lms and experiment
with objects.
6 Impact of Surrealism
While Surrealism is typically associated with the arts, it
has been said to transcend them; Surrealism has had an
impact in many other elds. In this sense, Surrealism
does not specically refer only to self-identied Sur-
realists, or those sanctioned by Breton, rather, it refers
to a range of creative acts of revolt and eorts to liber-
ate imagination. In addition to Surrealist ideas that are
grounded in the ideas of Hegel, Marx and Freud, Surre-
alism is seen by its advocates as being inherently dynamic
and as dialectical in its thought.
6.1 Other sources used by Surrealism
epigons
Surrealists have also drawn on sources as seemingly
diverse as Clark Ashton Smith, Montague Summers,
Horace Walpole, Fantmas, The Residents, Bugs Bunny,
comic strips, the obscure poet Samuel Greenberg and
the hobo writer and humourist T-Bone Slim. One might
say that Surrealist strands may be found in movements
such as Free Jazz (Don Cherry, Sun Ra, Cecil Taylor
etc.) and even in the daily lives of people in confronta-
tion with limiting social conditions. Thought of as the
eort of humanity to liberate imagination as an act of in-
surrection against society, Surrealism nds precedents in
the alchemists, possibly Dante, Hieronymus Bosch,[42][43]
Marquis de Sade,[42] Charles Fourier, Comte de Lautrea-
mont and Arthur Rimbaud.[44][45]
6.4 Surrealist groups
6.2 1960s riots
Surrealists believe that non-Western cultures also provide
a continued source of inspiration for Surrealist activity
because some may strike up a better balance between in-
strumental reason and imagination in ight than Western
culture. Surrealism has had an identiable impact on rad-
ical and revolutionary politics, both directly as in some
Surrealists joining or allying themselves with radical po-
litical groups, movements and parties and indirectly
through the way in which Surrealists emphasize the inti-
mate link between freeing imagination and the mind, and
liberation from repressive and archaic social structures.
This was especially visible in the New Left of the 1960s
and 1970s and the French revolt of May 1968, whose
slogan All power to the imagination rose directly from
French Surrealist thought and practice.
6.3 Postmodernism and popular culture
Many signicant literary movements in the later half of
the 20th century were directly or indirectly inuenced by
Surrealism. This period is known as the Postmodern era;
though theres no widely agreed upon central denition of
Postmodernism, many themes and techniques commonly
identied as Postmodern are nearly identical to Surreal-
ism.
Many writers from and associated with the Beat Genera-
tion were inuenced greatly by Surrealists. Philip Laman-
tia[46] and Ted Joans[47] are often categorized as both Beat
and Surrealist writers. Many other Beat writers show
signicant evidence of Surrealist inuence. A few ex-
amples include Bob Kaufman,[48][49] Gregory Corso,[50]
Allen Ginsberg,[51] and Lawrence Ferlinghetti.[52] Artaud
in particular was very inuential to many of the Beats, but
especially Ginsberg and Carl Solomon.[53] Ginsberg cites
Artauds Van Gogh -- The Man Suicided by Society as
a direct inuence on "Howl",[54] along with Apollinaires
Zone,[55] Garca Lorcas Ode to Walt Whitman,[56]
and Schwitters Priimiititiii.[57] The structure of Bre-
tons Free Union had a signicant inuence on Gins-
bergs Kaddish.[58] In Paris, Ginsberg and Corso met
their heroes Tristan Tzara, Marcel Duchamp, Man Ray,
and Benjamin Pret, and to show their admiration Gins-
berg kissed Duchamps feet and Corso cut o Duchamps
tie.[59]
William S. Burroughs, a core member of the Beat Gen-
eration and a postmodern novelist, developed the cut-up
technique with former surrealist Brion Gysinin which
chance is used to dictate the composition of a text from
words cut out of other sourcesreferring to it as the Sur-inspirational to many within the group of playwrights that
realist Lark and recognizing its debt to the techniques ofthe critic Martin Esslin called the "Theatre of the Ab-
Tristan Tzara.[60]
Postmodern novelist Thomas Pynchon, who was also in- not an organized movement, Esslin grouped these play-
uenced by Beat ction, experimented since the 1960s wrights together based on some similarities of theme
with the surrealist idea of startling juxtapositions; com- and technique; Esslin argues that these similarities may
11
menting on the necessity of managing this procedure
with some degree of care and skill, he added that any
old combination of details will not do. Spike Jones, Jr.,
whose fathers orchestral recordings had a deep and in-
delible eect on me as a child, said once in an interview,
'One of the things that people don't realize about Dads
kind of music is, when you replace a C-sharp with a gun-
shot, it has to be a C-sharp gunshot or it sounds awful.'"[7]
Many other postmodern ction writers have been di-
rectly inuenced by Surrealism. Paul Auster, for exam-
ple, has translated Surrealist poetry and said the Surreal-
ists were a real discovery for him.[61] Salman Rushdie,
when called a Magical Realist, said he saw his work in-
stead allied to surrealism.[62][63] For the work of other
postmodernists, such as Donald Barthelme[64] and Robert
Coover,[65] a broad comparison to Surrealism is common.
Magic realism, a popular technique among novelists of
the latter half of the 20th century especially among Latin
American writers, has some obvious similarities to Surre-
alism with its juxtaposition of the normal and the dream-
like, as in the work of Gabriel Garca Mrquez.[66] Carlos
Fuentes was inspired by the revolutionary voice in Surre-
alist poetry and points to inspiration Breton and Artaud
found in Fuentes homeland, Mexico.[67] Though Sur-
realism was a direct inuence on Magic Realism in its
early stages, many Magic Realist writers and critics, such
as Amaryll Chanady[68] and S. P. Ganguly,[69] while ac-
knowledging the similarities, cite the many dierences
obscured by the direct comparison of Magic Realism and
Surrealism such as an interest in psychology and the arte-
facts of European culture they claim is not present in
Magic Realism. A prominent example of a Magic Re-
alist writer who points to Surrealism as an early inuence
is Alejo Carpentier who also later criticized Surrealisms
delineation between real and unreal as not representing
the true South American experience.[70][71]
6.4 Surrealist groups
See also: Category:Surrealist groups
Surrealist individuals and groups have attempted to carry
on with Surrealism after the death of Andr Breton in
1966. The original Paris Surrealist Group was disbanded
by member Jean Schuster in 1969.
6.5 Surrealism and the theatre
Surrealist theatre and Artauds Theatre of Cruelty were
surd" (in his 1963 book of the same name). Though
12
be traced to an inuence from the Surrealists. Eugne
Ionesco in particular was fond of Surrealism, claiming
at one point that Breton was one of the most important
thinkers in history.[72][73] Samuel Beckett was also fond
of Surrealists, even translating much of the poetry into
English.[74][75] Other notable playwrights whom Esslin
groups under the term, for example Arthur Adamov and
Fernando Arrabal, were at some point members of the
Surrealist group.[76][77][78]
6.6 Surrealism and comedy
Main article: Surreal humour
7 Criticism of Surrealism
7.1 Feminist
See also: Women Surrealists
Feminists have in the past critiqued Surrealism, claiming
Dorothea Tanning (1910-2012), Etched Murmurs, etching,
1984. Having celebrated her 100th birthday in August 2010,
Tanning was the oldest living original Surrealist painter.
that it is fundamentally a male movement and a male fel-
lowship. Feminist critics believe that it adopts archaic at-
titudes toward women, such as worshiping them symbol-
ically through stereotypes and sexist norms. Women are
often made to represent higher values and transformed
into objects of desire and of mystery.[79]
8 SEE ALSO
A pioneer in the feminist critique of Surrealism was
Xavire Gauthier, whose book, Surralisme et sexualit
(1971),[80] inspired further scholarship on the marginal-
ization of women in relation to the avant-garde. This
perspective was anticipated and critiqued as misunder-
standing Surrealisms point in being a social critique and a
reection on the individuals presuppositions so that they
may be critically questioned.[81] Wolfgang Paalen eventu-
ally was the only Surrealist to defend feminism, although
in a very archaic sense. However it was Leonora Carring-
ton, who called Paalen the only feminist of the whole
group.[82]
Art historian Whitney Chadwick has countered the cri-
tique of Surrealism: Surrealism also battled the social
institutions - church, state, and family - that regulate
the place of women within patriarchy. In oering some
women their rst locus for artistic and social resistance, it
became the rst modernist movement in which a group of
women could explore female subjectivity and give form
(however tentatively) to a feminine imaginary.[83]
7.2 Freudian
Freud initiated the psychoanalytic critique of Surrealism
with his remark that what interested him most about the
Surrealists was not their unconscious but their conscious.
His meaning was that the manifestations of and exper-
iments with psychic automatism highlighted by Surreal-
ists as the liberation of the unconscious were highly struc-
tured by ego activity, similar to the activities of the dream
censorship in dreams, and that therefore it was in prin-
ciple a mistake to regard Surrealist poems and other art
works as direct manifestations of the unconscious, when
they were indeed highly shaped and processed by the ego.
In this view, the Surrealists may have been producing
great works, but they were products of the conscious, not
the unconscious mind, and they deceived themselves with
regard to what they were doing with the unconscious.
In psychoanalysis proper, the unconscious does not just
express itself automatically but can only be uncovered
through the analysis of resistance and transference in the
psychoanalytic process.
8 See also
Bizarre object
Chicago Surrealist Group
Fantastic art
Neo-Fauvism
Outsider art
Psychedelic art
Saln de Mayo (Cuba)

Surrealist cinema
Surrealist music
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10 Bibliography
Andr Breton
Manifestoes of Surrealism containing the rst, sec-
ond and introduction to a possible third manifesto,
the novel The Soluble Fish, and political aspects of
the Surrealist movement. ISBN 0-472-17900-4 .
What is Surrealism?: Selected Writings of Andr Bre-
ton. ISBN 0-87348-822-9 .
Conversations: The Autobiography of Surrealism
(Gallimard 1952) (Paragon House English rev. ed.
1993). ISBN 1-56924-970-9.
The Abridged Dictionary of Surrealism, reprinted in:
Bonnet, Marguerite, ed. (1988). Oeuvres
compltes, 1:328. Paris: ditions Gallimard.
Other sources
Ades, Dawn. Surrealism in Latin America: Vivisimo
Muerto, Los Angeles: Getty Publications, 2012.
ISBN 978-1-60606-117-6
Alexandrian, Sarane. Surrealist Art London:
Thames & Hudson, 1970.
15
Apollinaire, Guillaume 1917, 1991. Program note
for Parade, printed in Oeuvres en prose compltes,
2:865-866, Pierre Caizergues and Michel Dcaudin,
eds. Paris: ditions Gallimard.
Brotchie, Alastair and Gooding, Mel, eds. A Book
of Surrealist Games Berkeley, California: Shamb-
hala, 1995. ISBN 1-57062-084-9.
Caws, Mary Ann Surrealist Painters and Poets: An
Anthology 2001, MIT Press.
Chadwick, Whitney. Mirror Images: Women, Sur-
realism, and Self-Representation. The MIT Press,
1998. ISBN 978-0262531573
Chadwick, Whitney. Women Artists and the Surre-
alist Movement. 1985, Bulnch Press. ISBN 978-
0821215999
Durozoi, Gerard, History of the Surrealist Move-
ment Translated by Alison Anderson University of
Chicago Press. 2004. ISBN 0-226-17411-5.
Flahutez, Fabrice, Nouveau Monde et Nouveau
Mythe. Mutations du surralisme de l'exil amricain
l'cart absolu (19411965), Les presses du rel,
Dijon, 2007.
Fort, Ilene Susan and Tere Arcq, editors. In Won-
derland: The Surrealist Adventures of Women Artists
in Mexico and the United States, Munich: Prestel
Verlag, 2012.
Galtsova, Elena. Surrealism and Theatre. On
the Theatrical Aesthetics of the French Surrealism,
Moscow, Russian State University for the Humani-
ties, 2012, ISBN 9785728111467
David Hopkins (2004). Dada and Surrealism: A
Very Short Introduction. Oxford University Press.
ISBN 978-0-19-280254-5.
Leddy, Annette and Conwell, Donna. Farewell to
Surrealism: The Dyn Circle in Mexico, Los Angeles:
Getty Publications. 2012. ISBN 978-1-60606-118-
3
Lewis, Helena. Dada Turns Red. Edinburgh, Scot-
land: University of Ednburgh Press, 1990.
Low Mary, Bre Juan, Red Spanish Notebook, City
Light Books, Sans Francisco, 1979, ISBN 0-87286-
132-5
Melly, George Paris and the Surrealists Thames &
Hudson. 1991.
Moebius, Stephan. Die Zauberlehrlinge. Soziolo-
giegeschichte des Collge de Sociologie. Konstanz:
UVK 2006. About the College of Sociology, its mem-
bers and sociological impacts.
16 11 EXTERNAL LINKS

Nadeau, Maurice. History of Surrealism Cambridge, 11.4 Surrealist poetry

Massachusetts: Belknap Press, 1989. ISBN 0-674-
40345-2. Gullette, Alan. The Theory and Techniques of Sur-
realist Poetry.
Richard Jean-Tristan. Les structures inconscientes du
signe pictural/Psychanalyse et surralisme (Uncon- Surrealism in Poetry Holcombe, C. J.
scious structures of pictural sign), L'Harmattan ed., A sample of French Surrealist poetry
Paris (France), 1999
Jackaman, Rob (1989). The course of English sur-
Review Mlusine in French by Center of sur- realist poetry since the 1930s. Lewiston: Edwin
realism studies directed by Henri Behar since Mellen Press. ISBN 0-88946-932-6.
1979, edited by Editions l'Age d'Homme, Lausanne,
Suisse. Download platform www.artelittera.com Aim Csaire and Surrealism (French)
14.00

Sams, Jeremy (1997) [1993]. Poulenc, Francis.

In Amanda Holden (ed). The Penguin Opera Guide.
London: Penguin Books. ISBN 978-0-14-051385-
1.

11 External links

11.1 Andr Breton writings

Manifesto of Surrealism by Andr Breton. 1924.

What is Surrealism? Lecture by Breton, Brussels

1934

11.2 Overview websites

Dutch Surrealism,

Timeline of Surrealism from Centre Pompidou.

Le Surralisme (French)

Surrealist.com, A general history of the art move-

ment with artist biographies and art.

Surrealism Reviewed audiobook (archive record-

ings)

The New International Surrealist Manifesto (pdf)

11.3 Surrealism and politics

Heath, Nick. 1919-1950: The politics of Surreal-

ism. Libcom.org.

Rosemont, Franklin (1989). Herbert Marcuse and

Surrealism. Arsenal vol. 4.

Kennedy, Maev (2007-03-27). How the surrealists

sold out. The Guardian.
 17

12 Text and image sources, contributors, and licenses

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Slrubenstein, Jeronimo, Sjc, Jan Hidders, Andre Engels, Rgamble, JeLuF, Atorpen, William Avery, SimonP, Robin726, Daniel C. Boyer,
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12.2 Images
File:'Woman_with_Her_Throat_Cut',_a_or_piece_by_Giacometti,_1932_(cast_1949),_Museum_of_Modern_Art,_(New_York_City).jpg
Source: https://upload.wikimedia.org/wikipedia/en/1/10/%27Woman_with_Her_Throat_Cut%27%2C_a_flor_piece_by_Giacometti%
2C_1932_%28cast_1949%29%2C_Museum_of_Modern_Art%2C_%28New_York_City%29.jpg License: Fair use Contributors: ?
Original artist: ?
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File:ElleLogeLaFolie_1970.jpg Source: https://upload.wikimedia.org/wikipedia/en/c/cc/ElleLogeLaFolie_1970.jpg License: Fair use
Contributors:
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File:Indefinite_Divisibility.jpg Source: https://upload.wikimedia.org/wikipedia/en/a/ae/Indefinite_Divisibility.jpg License: Fair use
Contributors:
WebMuseum, Paris; Albright Knox Art Gallery, New York [1] Original artist: ?
File:L'Ange_du_Foyeur.jpg Source: https://upload.wikimedia.org/wikipedia/en/d/db/L%27Ange_du_Foyeur.jpg License: Fair use
Contributors:
[1]. Original artist: ?
File:La_Revolution_Surrealiste_cover.jpg Source: https://upload.wikimedia.org/wikipedia/en/d/de/La_Revolution_Surrealiste_cover.
jpg License: ? Contributors: ? Original artist: ?
File:MagrittePipe.jpg Source: https://upload.wikimedia.org/wikipedia/en/b/b9/MagrittePipe.jpg License: Fair use Contributors:
Image taken from a University of Alabama site, "Approaches to Modernism": [1] Original artist: ?
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