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Years activeSurrealism_header_cell_0_0_0 1920s–1950sSurrealism_cell_0_0_1
CountrySurrealism_header_cell_0_1_0 France, BelgiumSurrealism_cell_0_1_1
Major figuresSurrealism_header_cell_0_2_0 Breton, Dalí, Ernst, MagritteSurrealism_cell_0_2_1
InfluencesSurrealism_header_cell_0_3_0 Surrealism_cell_0_3_1
InfluencedSurrealism_header_cell_0_4_0 Abstract expressionism, Post-modernismSurrealism_cell_0_4_1

Surrealism was a cultural movement which developed in Europe in the aftermath of World War I and was largely influenced by Dada. Surrealism_sentence_0

The movement is best known for its visual artworks and writings and the juxtaposition of uncommon imagery. Surrealism_sentence_1

Artists painted unnerving, illogical scenes, sometimes with photographic precision, creating strange creatures from everyday objects, and developing painting techniques that allowed the unconscious to express itself. Surrealism_sentence_2

Its aim was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality. Surrealism_sentence_3

Works of surrealism feature the element of surprise, unexpected juxtapositions and non sequitur; however, many surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works themselves being an artifact. Surrealism_sentence_4

Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism_sentence_5

At the time, the movement was associated with political causes such as communism and anarchism. Surrealism_sentence_6

The term "Surrealism" is said to have been coined by Guillaume Apollinaire as early as 1917. Surrealism_sentence_7

However, the Surrealist movement was not officially established until October 15, 1924, when the French poet and critic André Breton published the Surrealist Manifesto in Paris. Surrealism_sentence_8

The most important center of the movement was Paris, France. Surrealism_sentence_9

From the 1920s onward, the movement spread around the globe, impacting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory. Surrealism_sentence_10

Founding of the movement Surrealism_section_0

The word 'surrealism' was first coined in March 1917 by Guillaume Apollinaire. Surrealism_sentence_11

He wrote in a letter to Paul Dermée: "All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used" [Tout bien examiné, je crois en effet qu'il vaut mieux adopter surréalisme que surnaturalisme que j'avais d'abord employé]. Surrealism_sentence_12

Apollinaire used the term in his program notes for Sergei Diaghilev's Ballets Russes, Parade, which premiered 18 May 1917. Surrealism_sentence_13

Parade had a one-act scenario by Jean Cocteau and was performed with music by Erik Satie. Surrealism_sentence_14

Cocteau described the ballet as "realistic". Surrealism_sentence_15

Apollinaire went further, describing Parade as "surrealistic": Surrealism_sentence_16

The term was taken up again by Apollinaire, both as subtitle and in the preface to his play Les Mamelles de Tirésias: Drame surréaliste, which was written in 1903 and first performed in 1917. Surrealism_sentence_17

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 conflict of the war upon the world. Surrealism_sentence_18

The Dadaists protested with anti-art gatherings, performances, writings and art works. Surrealism_sentence_19

After the war, when they returned to Paris, the Dada activities continued. Surrealism_sentence_20

During the war, André Breton, who had trained in medicine and psychiatry, served in a neurological hospital where he used Sigmund Freud's psychoanalytic methods with soldiers suffering from shell-shock. Surrealism_sentence_21

Meeting the young writer Jacques Vaché, Breton felt that Vaché was the spiritual son of writer and pataphysics founder Alfred Jarry. Surrealism_sentence_22

He admired the young writer's anti-social attitude and disdain for established artistic tradition. Surrealism_sentence_23

Later Breton wrote, "In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most." Surrealism_sentence_24

Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and Philippe Soupault. Surrealism_sentence_25

They began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Surrealism_sentence_26

Breton and Soupault continued writing evolving their techniques of automatism and published The Magnetic Fields (1920). Surrealism_sentence_27

By October 1924 two rival Surrealist groups had formed to publish a Surrealist Manifesto. Surrealism_sentence_28

Each claimed to be successors of a revolution launched by Appolinaire. Surrealism_sentence_29

One group, led by Yvan Goll consisted of Pierre Albert-Birot, Paul Dermée, Céline Arnauld, Francis Picabia, Tristan Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Arland, Joseph Delteil, Jean Painlevé and Robert Delaunay, among others. Surrealism_sentence_30

The group led by André Breton claimed that automatism was a better tactic for societal change than those of Dada, as led by Tzara, who was now among their rivals. Surrealism_sentence_31

Breton's group grew to include writers and artists from various media such as Paul Éluard, Benjamin Péret, René Crevel, Robert Desnos, Jacques Baron, Max Morise, Pierre Naville, Roger Vitrac, Gala Éluard, Max Ernst, Salvador Dalí, Luis Buñuel, Man Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges Limbour, Antonin Artaud, Raymond Queneau, André Masson, Joan Miró, Marcel Duchamp, Jacques Prévert, and Yves Tanguy. Surrealism_sentence_32

As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic. Surrealism_sentence_33

They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin and Herbert Marcuse. Surrealism_sentence_34

Freud's work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. Surrealism_sentence_35

They embraced idiosyncrasy, while rejecting the idea of an underlying madness. Surrealism_sentence_36

As Dalí later proclaimed, "There is only one difference between a madman and me. Surrealism_sentence_37

I am not mad." Surrealism_sentence_38

Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects." Surrealism_sentence_39

Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet Pierre Reverdy, which said: "a juxtaposition of two more or less distant realities. Surrealism_sentence_40

The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power and poetic reality." Surrealism_sentence_41

The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. Surrealism_sentence_42

They wanted to free people from false rationality, and restrictive customs and structures. Surrealism_sentence_43

Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!" Surrealism_sentence_44

To this goal, at various times Surrealists aligned with communism and anarchism. Surrealism_sentence_45

In 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. Surrealism_sentence_46

That same year the Bureau of Surrealist Research was established, and began publishing the journal La Révolution surréaliste. Surrealism_sentence_47

Surrealist Manifestos Surrealism_section_1

Main article: Surrealist Manifesto Surrealism_sentence_48

Leading up to 1924, two rival surrealist groups had formed. Surrealism_sentence_49

Each group claimed to be successors of a revolution launched by Apollinaire. Surrealism_sentence_50

One group, led by Yvan Goll, consisted of Pierre Albert-Birot, Paul Dermée, Céline Arnauld, Francis Picabia, Tristan Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Arland, Joseph Delteil, Jean Painlevé and Robert Delaunay, among others. Surrealism_sentence_51

The other group, led by Breton, included Aragon, Desnos, Éluard, Baron, Crevel, Malkine, Jacques-André Boiffard and Jean Carrive, among others. Surrealism_sentence_52

Yvan Goll published the Manifeste du surréalisme, 1 October 1924, in his first and only issue of Surréalisme two weeks prior to the release of Breton's Manifeste du surréalisme, published by Éditions du Sagittaire, 15 October 1924. Surrealism_sentence_53

Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, over the rights to the term Surrealism. Surrealism_sentence_54

In the end, Breton won the battle through tactical and numerical superiority. Surrealism_sentence_55

Though the quarrel over the anteriority of Surrealism concluded with the victory of Breton, the history of surrealism from that moment would remain marked by fractures, resignations, and resounding excommunications, with each surrealist having their own view of the issue and goals, and accepting more or less the definitions laid out by André Breton. Surrealism_sentence_56

Breton's 1924 Surrealist Manifesto defines the purposes of Surrealism. Surrealism_sentence_57

He included citations of the influences on Surrealism, examples of Surrealist works, and discussion of Surrealist automatism. Surrealism_sentence_58

He provided the following definitions: Surrealism_sentence_59

Expansion Surrealism_section_2

The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games, discussed the theories of Surrealism, and developed a variety of techniques such as automatic drawing. Surrealism_sentence_60

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. Surrealism_sentence_61

This caution was overcome by the discovery of such techniques as frottage and decalcomania. Surrealism_sentence_62

Soon more visual artists became involved, including Giorgio de Chirico, Max Ernst, Joan Miró, Francis Picabia, Yves Tanguy, Salvador Dalí, Luis Buñuel, Alberto Giacometti, Valentine Hugo, Méret Oppenheim, Toyen, Kansuke Yamamoto and later after the second war: Enrico Donati. Surrealism_sentence_63

Though Breton admired Pablo Picasso and Marcel Duchamp and courted them to join the movement, they remained peripheral. Surrealism_sentence_64

More writers also joined, including former Dadaist Tristan Tzara, René Char, and Georges Sadoul. Surrealism_sentence_65

In 1925 an autonomous Surrealist group formed in Brussels. Surrealism_sentence_66

The group included the musician, poet, and artist E. Surrealism_sentence_67 L. T. Mesens, painter and writer René Magritte, Paul Nougé, Marcel Lecomte, and André Souris. Surrealism_sentence_68

In 1927 they were joined by the writer Louis Scutenaire. Surrealism_sentence_69

They corresponded regularly with the Paris group, and in 1927 both Goemans and Magritte moved to Paris and frequented Breton's circle. Surrealism_sentence_70

The artists, with their roots in Dada and Cubism, the abstraction of Wassily Kandinsky, Expressionism, and Post-Impressionism, also reached to older "bloodlines" or proto-surrealists such as Hieronymus Bosch, and the so-called primitive and naive arts. Surrealism_sentence_71

André Masson's automatic drawings of 1923 are often used as the point of the acceptance of visual arts and the break from Dada, since they reflect the influence of the idea of the unconscious mind. Surrealism_sentence_72

Another example is Giacometti's 1925 Torso, which marked his movement to simplified forms and inspiration from preclassical sculpture. Surrealism_sentence_73

However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen) with The Kiss (Le Baiser) from 1927 by Max Ernst. Surrealism_sentence_74

The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly. Surrealism_sentence_75

In the second the influence of Miró and the drawing style of Picasso is visible with the use of fluid curving and intersecting lines and colour, whereas the first takes a directness that would later be influential in movements such as Pop art. Surrealism_sentence_76

Giorgio de Chirico, and his previous development of metaphysical art, was one of the important joining figures between the philosophical and visual aspects of Surrealism. Surrealism_sentence_77

Between 1911 and 1917, he adopted an unornamented depictional style whose surface would be adopted by others later. Surrealism_sentence_78

The Red Tower (La tour rouge) from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. Surrealism_sentence_79

His 1914 The Nostalgia of the Poet (La Nostalgie du poète) has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief defies conventional explanation. Surrealism_sentence_80

He was also a writer whose novel Hebdomeros presents a series of dreamscapes with an unusual use of punctuation, syntax, and grammar designed to create an atmosphere and frame its images. Surrealism_sentence_81

His images, including set designs for the Ballets Russes, would create a decorative form of Surrealism, and he would be an influence on the two artists who would be even more closely associated with Surrealism in the public mind: Dalí and Magritte. Surrealism_sentence_82

He would, however, leave the Surrealist group in 1928. Surrealism_sentence_83

In 1924, Miró and Masson applied Surrealism to painting. Surrealism_sentence_84

The first Surrealist exhibition, La Peinture Surrealiste, was held at Galerie Pierre in Paris in 1925. Surrealism_sentence_85

It displayed works by Masson, Man Ray, Paul Klee, Miró, and others. Surrealism_sentence_86

The show confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), and techniques from Dada, such as photomontage, were used. Surrealism_sentence_87

The following year, on March 26, 1926 Galerie Surréaliste opened with an exhibition by Man Ray. Surrealism_sentence_88

Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s. Surrealism_sentence_89

Surrealist literature Surrealism_section_3

See also: List of Surrealist poets Surrealism_sentence_90

The first Surrealist work, according to leader Brêton, was Les Chants de Maldoror; and the first work written and published by his group of Surréalistes was Les Champs Magnétiques (May–June 1919). Surrealism_sentence_91

Littérature contained automatist works and accounts of dreams. Surrealism_sentence_92

The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones, the poetic undercurrents present. Surrealism_sentence_93

Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which "exist in ambiguous relationships to the visual images" Surrealism_sentence_94

Because Surrealist writers seldom, if ever, appear to organize their thoughts and the images they present, some people find much of their work difficult to parse. Surrealism_sentence_95

This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. Surrealism_sentence_96

But—as in Breton's case—much of what is presented as purely automatic is actually edited and very "thought out". Surrealism_sentence_97

Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since automatic painting required a rather more strenuous set of approaches. Surrealism_sentence_98

Thus such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in Pierre Reverdy's poetry. Surrealism_sentence_99

And—as in Magritte's case (where there is no obvious recourse to either automatic techniques or collage)—the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism_sentence_100

Surrealism was meant to be always in flux—to be more modern than modern—and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose. Surrealism_sentence_101

Surrealists revived interest in Isidore Ducasse, known by his pseudonym Comte de Lautréamont, and for the line "beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella", and Arthur Rimbaud, two late 19th-century writers believed to be the precursors of Surrealism. Surrealism_sentence_102

Examples of Surrealist literature are Artaud's Le Pèse-Nerfs (1926), Aragon's Irene's Cunt (1927), Péret's Death to the Pigs (1929), Crevel's Mr. Surrealism_sentence_103

Knife Miss Fork (1931), Sadegh Hedayat's the Blind Owl (1937), and Breton's Sur la route de San Romano (1948). Surrealism_sentence_104

La Révolution surréaliste continued publication into 1929 with most pages densely packed with columns of text, but also included reproductions of art, among them works by de Chirico, Ernst, Masson, and Man Ray. Surrealism_sentence_105

Other works included books, poems, pamphlets, automatic texts and theoretical tracts. Surrealism_sentence_106

Surrealist films Surrealism_section_4

Main article: Surrealist cinema Surrealism_sentence_107

Early films by Surrealists include: Surrealism_sentence_108


Surrealist photography Surrealism_section_5

Famous Surrealist photographers are the American Man Ray, the French/Hungarian Brassaï and the Dutch Emiel van Moerkerken. Surrealism_sentence_109

Surrealist theatre Surrealism_section_6

The word surrealist was first used by Apollinaire to describe his 1917 play Les Mamelles de Tirésias ("The Breasts of Tiresias"), which was later adapted into an opera by Francis Poulenc. Surrealism_sentence_110

Antonin Artaud, an early Surrealist, rejected the majority of Western theatre as a perversion of its original intent, which he felt should be a mystical, metaphysical experience. Surrealism_sentence_111

He thought that rational discourse comprised "falsehood and illusion". Surrealism_sentence_112

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 related to the world of dreams. Surrealism_sentence_113

The other major theatre practitioner to have experimented with surrealism in the theatre is the Spanish playwright and director Federico García Lorca, particularly in his plays The Public (1930), When Five Years Pass (1931), and Play Without a Title (1935). Surrealism_sentence_114

Other surrealist plays include Aragon's Backs to the Wall (1925) and Roger Vitrac's The Mysteries of Love (1927) and Victor, or The Children Take Over (1928). Surrealism_sentence_115

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. Surrealism_sentence_116

Surrealist music Surrealism_section_7

Main article: Surrealist music Surrealism_sentence_117

In the 1920s several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Surrealism_sentence_118

Among them were Bohuslav Martinů, André Souris, Erik Satie, and Edgard Varèse, who stated that his work Arcana was drawn from a dream sequence. Surrealism_sentence_119

Souris in particular was associated with the movement: he had a long relationship with Magritte, and worked on Paul Nougé's publication Adieu Marie. Surrealism_sentence_120

Germaine Tailleferre of the French group Les Six wrote several works which could be considered to be inspired by Surrealism, including the 1948 ballet Paris-Magie (scenario by Lise Deharme), the operas La Petite Sirène (book by Philippe Soupault) and Le Maître (book by Eugène Ionesco). Surrealism_sentence_121

Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s. Surrealism_sentence_122

Even though Breton by 1946 responded rather negatively to the subject of music with his essay Silence is Golden, later Surrealists, such as Paul Garon, have been interested in—and found parallels to—Surrealism in the improvisation of jazz and the blues. Surrealism_sentence_123

Jazz and blues musicians have occasionally reciprocated this interest. Surrealism_sentence_124

For example, the 1976 World Surrealist Exhibition included performances by David "Honeyboy" Edwards. Surrealism_sentence_125

Surrealism and international politics Surrealism_section_8

Surrealism as a political force developed unevenly around the world: in some places more emphasis was on artistic practices, in other places on political practices, and in other places still, Surrealist praxis looked to supersede both the arts and politics. Surrealism_sentence_126

During the 1930s, the Surrealist idea spread from Europe to North America, South America (founding of the Mandrágora group in Chile in 1938), Central America, the Caribbean, and throughout Asia, as both an artistic idea and as an ideology of political change. Surrealism_sentence_127

Politically, Surrealism was Trotskyist, communist, or anarchist. Surrealism_sentence_128

The split from Dada has been characterised as a split between anarchists and communists, with the Surrealists as communist. Surrealism_sentence_129

Breton and his comrades supported Leon Trotsky and his International Left Opposition for a while, though there was an openness to anarchism that manifested more fully after World War II. Surrealism_sentence_130

Some Surrealists, such as Benjamin Péret, Mary Low, and Juan Breá, aligned with forms of left communism. Surrealism_sentence_131

When the Dutch surrealist photographer Emiel van Moerkerken came to Breton, he did not want to sign the manifesto because he wasn't a Trotskyist. Surrealism_sentence_132

For Breton being a communist wasn't enough. Surrealism_sentence_133

Breton denied Van Moerkerken's pictures for a publication afterwards. Surrealism_sentence_134

This caused a split in surrealism. Surrealism_sentence_135

Others fought for complete liberty from political ideologies, like Wolfgang Paalen, who, after Trotsky's assassination in Mexico, prepared a schism between art and politics through his counter-surrealist art-magazine DYN and so prepared the ground for the abstract expressionists. Surrealism_sentence_136

Dalí supported capitalism and the fascist dictatorship of Francisco Franco but cannot be said to represent a trend in Surrealism in this respect; in fact he was considered, by Breton and his associates, to have betrayed and left Surrealism. Surrealism_sentence_137

Benjamin Péret, Mary Low and Juan Breá joined the POUM during the Spanish Civil War. Surrealism_sentence_138

Breton's followers, along with the Communist Party, were working for the "liberation of man". Surrealism_sentence_139

However, Breton's group refused to prioritize the proletarian struggle over radical creation such that their struggles with the Party made the late 1920s a turbulent time for both. Surrealism_sentence_140

Many individuals closely associated with Breton, notably Aragon, left his group to work more closely with the Communists. Surrealism_sentence_141

Surrealists have often sought to link their efforts with political ideals and activities. Surrealism_sentence_142

In the Declaration of January 27, 1925, for example, members of the Paris-based Bureau of Surrealist Research (including Breton, Aragon and Artaud, as well as some two dozen others) declared their affinity for revolutionary politics. Surrealism_sentence_143

While this was initially a somewhat vague formulation, by the 1930s many Surrealists had strongly identified themselves with communism. Surrealism_sentence_144

The foremost document of this tendency within Surrealism is the Manifesto for a Free Revolutionary Art, published under the names of Breton and Diego Rivera, but actually co-authored by Breton and Leon Trotsky. Surrealism_sentence_145

However, in 1933 the Surrealists’ assertion that a 'proletarian literature' within a capitalist society was impossible led to their break with the Association des Ecrivains et Artistes Révolutionnaires, and the expulsion of Breton, Éluard and Crevel from the Communist Party. Surrealism_sentence_146

In 1925, the Paris Surrealist group and the extreme left of the French Communist Party came together to support Abd-el-Krim, leader of the Rif uprising against French colonialism in Morocco. Surrealism_sentence_147

In an open letter to writer and French ambassador to Japan, Paul Claudel, the Paris group announced: Surrealism_sentence_148

The anticolonial revolutionary and proletarian politics of "Murderous Humanitarianism" (1932) which was drafted mainly by Crevel, signed by Breton, Éluard, Péret, Tanguy, and the Martiniquan Surrealists Pierre Yoyotte and J.M. Surrealism_sentence_149 Monnerot perhaps makes it the original document of what is later called 'black Surrealism', although it is the contact between Aimé Césaire and Breton in the 1940s in Martinique that really lead to the communication of what is known as 'black Surrealism'. Surrealism_sentence_150

Anticolonial revolutionary writers in the Négritude movement of Martinique, a French colony at the time, took up Surrealism as a revolutionary method - a critique of European culture and a radical subjective. Surrealism_sentence_151

This linked with other Surrealists and was very important for the subsequent development of Surrealism as a revolutionary praxis. Surrealism_sentence_152

The journal Tropiques, featuring the work of Césaire along with Suzanne Césaire, René Ménil, Lucie Thésée, Aristide Maugée and others, was first published in 1941. Surrealism_sentence_153

In 1938 André Breton traveled with his wife, the painter Jacqueline Lamba, to Mexico to meet Trotsky (staying as the guest of Diego Rivera's former wife Guadalupe Marin), and there he met Frida Kahlo and saw her paintings for the first time. Surrealism_sentence_154

Breton declared Kahlo to be an "innate" Surrealist painter. Surrealism_sentence_155

Internal politics Surrealism_section_9

In 1929 the satellite group associated with the journal Le Grand Jeu, including Roger Gilbert-Lecomte, Maurice Henry and the Czech painter Josef Sima, was ostracized. Surrealism_sentence_156

Also in February, Breton asked Surrealists to assess their "degree of moral competence", and theoretical refinements included in the second manifeste du surréalisme excluded anyone reluctant to commit to collective action, a list which included Leiris, Limbour, Morise, Baron, Queneau, Prévert, Desnos, Masson and Boiffard. Surrealism_sentence_157

Excluded members launched a counterattack, sharply criticizing Breton in the pamphlet Un Cadavre, which featured a picture of Breton wearing a crown of thorns. Surrealism_sentence_158

The pamphlet drew upon an earlier act of subversion by likening Breton to Anatole France, whose unquestioned value Breton had challenged in 1924. Surrealism_sentence_159

The disunion of 1929-30 and the effects of Un Cadavre had very little negative impact upon Surrealism as Breton saw it, since core figures such as Aragon, Crevel, Dalí and Buñuel remained true the idea of group action, at least for the time being. Surrealism_sentence_160

The success (or the controversy) of Dalí and Buñuel's film L'Age d'Or in December 1930 had a regenerative effect, drawing a number of new recruits, and encouraging countless new artistic works the following year and throughout the 1930s. Surrealism_sentence_161

Disgruntled surrealists moved to the periodical Documents, edited by Georges Bataille, whose anti-idealist materialism formed a hybrid Surrealism intending to expose the base instincts of humans. Surrealism_sentence_162

To the dismay of many, Documents fizzled out in 1931, just as Surrealism seemed to be gathering more steam. Surrealism_sentence_163

There were a number of reconciliations after this period of disunion, such as between Breton and Bataille, while Aragon left the group after committing himself to the French Communist Party in 1932. Surrealism_sentence_164

More members were ousted over the years for a variety of infractions, both political and personal, while others left in pursuit of their own style. Surrealism_sentence_165

By the end of World War II the surrealist group led by André Breton decided to explicitly embrace anarchism. Surrealism_sentence_166

In 1952 Breton wrote "It was in the black mirror of anarchism that surrealism first recognised itself." Surrealism_sentence_167

Breton was consistent in his support for the francophone Anarchist Federation and he continued to offer his solidarity after the Platformists supporting Fontenis transformed the FA into the Fédération Communiste Libertaire. Surrealism_sentence_168

He was one of the few intellectuals who continued to offer his support to the FCL during the Algerian war when the FCL suffered severe repression and was forced underground. Surrealism_sentence_169

He sheltered Fontenis whilst he was in hiding. Surrealism_sentence_170

He refused to take sides on the splits in the French anarchist movement and both he and Peret expressed solidarity as well with the new Fédération anarchiste set up by the synthesist anarchists and worked in the Antifascist Committees of the 60s alongside the FA." Surrealism_sentence_171

Golden age Surrealism_section_10

Throughout the 1930s, Surrealism continued to become more visible to the public at large. Surrealism_sentence_172

A Surrealist group developed in London and, according to Breton, their 1936 London International Surrealist Exhibition was a high-water mark of the period and became the model for international exhibitions. Surrealism_sentence_173

Another English Surrealist group developed in Birmingham, meanwhile, and was distinguished by its opposition to the London surrealists and preferences for surrealism's French heartland. Surrealism_sentence_174

The two groups would reconcile later in the decade. Surrealism_sentence_175

Dalí and Magritte created the most widely recognized images of the movement. Surrealism_sentence_176

Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935. Surrealism_sentence_177

Surrealism as a visual movement had found a method: to expose psychological truth; stripping ordinary objects of their normal significance, to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer. Surrealism_sentence_178

1931 was a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's Voice of Space (La Voix des airs) is an example of this process, where three large spheres representing bells hang above a landscape. Surrealism_sentence_179

Another Surrealist landscape from this same year is Yves Tanguy's , with its molten forms and liquid shapes. Surrealism_sentence_180

Liquid shapes became the trademark of Dalí, particularly in his The Persistence of Memory, which features the image of watches that sag as if they were melting. Surrealism_sentence_181

The characteristics of this style—a combination of the depictive, the abstract, and the psychological—came to stand for the alienation which many people felt in the modern period, combined with the sense of reaching more deeply into the psyche, to be "made whole with one's individuality". Surrealism_sentence_182

Between 1930 and 1933, the Surrealist Group in Paris issued the periodical Le Surréalisme au service de la révolution as the successor of La Révolution surréaliste. Surrealism_sentence_183

From 1936 through 1938 Wolfgang Paalen, Gordon Onslow Ford, and Roberto Matta joined the group. Surrealism_sentence_184

Paalen contributed Fumage and Onslow Ford Coulage as new pictorial automatic techniques. Surrealism_sentence_185

Long after personal, political and professional tensions fragmented the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. Surrealism_sentence_186

This program reached beyond painting, to encompass photography as well, as can be seen from a Man Ray self-portrait, whose use of assemblage influenced Robert Rauschenberg's collage boxes. Surrealism_sentence_187

During the 1930s Peggy Guggenheim, an important American art collector, married Max Ernst and began promoting work by other Surrealists such as Yves Tanguy and the British artist John Tunnard. Surrealism_sentence_188

Major exhibitions in the 1930s Surrealism_sentence_189


  • 1936 - London International Surrealist Exhibition is organised in London by the art historian Herbert Read, with an introduction by André Breton.Surrealism_item_1_6
  • 1936 - Museum of Modern Art in New York shows the exhibition Fantastic Art, Dada and Surrealism.Surrealism_item_1_7
  • 1938 - A new Exposition Internationale du Surréalisme was held at the Beaux-arts Gallery, Paris, with more than 60 artists from different countries, and showed around 300 paintings, objects, collages, photographs and installations. The Surrealists wanted to create an exhibition which in itself would be a creative act and called on Marcel Duchamp, Wolfgang Paalen, Man Ray and others to do so. At the exhibition's entrance Salvador Dalí placed his Rainy Taxi (an old taxi rigged to produce a steady drizzle of water down the inside of the windows, and a shark-headed creature in the driver's seat and a blond mannequin crawling with live snails in the back) greeted the patrons who were in full evening dress. Surrealist Street filled one side of the lobby with mannequins dressed by various Surrealists. Paalen and Duchamp designed the main hall to seem like cave with 1,200 coal bags suspended from the ceiling over a coal brazier with a single light bulb which provided the only lighting, as well as the floor covered with humid leaves and mud. The patrons were given flashlights with which to view the art. On the floor Wolfgang Paalen created a small lake with grasses and the aroma of roasting coffee filled the air. Much to the Surrealists' satisfaction the exhibition scandalized the viewers.Surrealism_item_1_8

World War II and the Post War period Surrealism_section_11

World War II created havoc not only for the general population of Europe but especially for the European artists and writers that opposed Fascism and Nazism. Surrealism_sentence_190

Many important artists fled to North America and relative safety in the United States. Surrealism_sentence_191

The art community in New York City in particular was already grappling with Surrealist ideas and several artists like Arshile Gorky, Jackson Pollock, and Robert Motherwell converged closely with the surrealist artists themselves, albeit with some suspicion and reservations. Surrealism_sentence_192

Ideas concerning the unconscious and dream imagery were quickly embraced. Surrealism_sentence_193

By the Second World War, the taste of the American avant-garde in New York City swung decisively towards Abstract Expressionism with the support of key taste makers, including Peggy Guggenheim, Leo Steinberg and Clement Greenberg. Surrealism_sentence_194

However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during World War II. Surrealism_sentence_195

In particular, Gorky and Paalen influenced the development of this American art form, which, as Surrealism did, celebrated the instantaneous human act as the well-spring of creativity. Surrealism_sentence_196

The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of Dadaistic humor in such artists as Rauschenberg sheds an even starker light upon the connection. Surrealism_sentence_197

Up until the emergence of Pop Art, Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism. Surrealism_sentence_198

The Second World War overshadowed, for a time, almost all intellectual and artistic production. Surrealism_sentence_199

In 1939 Wolfgang Paalen was the first to leave Paris for the New World as exile. Surrealism_sentence_200

After a long trip through the forests of British Columbia, he settled in Mexico and founded his influential art-magazine Dyn. Surrealism_sentence_201

In 1940 Yves Tanguy married American Surrealist painter Kay Sage. Surrealism_sentence_202

In 1941, Breton went to the United States, where he co-founded the short-lived magazine VVV with Max Ernst, Marcel Duchamp, and the American artist David Hare. Surrealism_sentence_203

However, it was the American poet, Charles Henri Ford, and his magazine View which offered Breton a channel for promoting Surrealism in the United States. Surrealism_sentence_204

The View special issue on Duchamp was crucial for the public understanding of Surrealism in America. Surrealism_sentence_205

It stressed his connections to Surrealist methods, offered interpretations of his work by Breton, as well as Breton's view that Duchamp represented the bridge between early modern movements, such as Futurism and Cubism, to Surrealism. Surrealism_sentence_206

Wolfgang Paalen left the group in 1942 due to political/philosophical differences with Breton. Surrealism_sentence_207

Though the war proved disruptive for Surrealism, the works continued. Surrealism_sentence_208

Many Surrealist artists continued to explore their vocabularies, including Magritte. Surrealism_sentence_209

Many members of the Surrealist movement continued to correspond and meet. Surrealism_sentence_210

While Dalí may have been excommunicated by Breton, he neither abandoned his themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive pompier. Surrealism_sentence_211

His classic period did not represent so sharp a break with the past as some descriptions of his work might portray, and some, such as André Thirion, argued that there were works of his after this period that continued to have some relevance for the movement. Surrealism_sentence_212

During the 1940s Surrealism's influence was also felt in England, America and the Netherlands where Gertrude Pape and her husband Theo van Baaren helped to popularize it in their publication The Clean Handkerchief. Surrealism_sentence_213

Mark Rothko took an interest in biomorphic figures, and in England Henry Moore, Lucian Freud, Francis Bacon and Paul Nash used or experimented with Surrealist techniques. Surrealism_sentence_214

However, Conroy Maddox, one of the first British Surrealists whose work in this genre dated from 1935, remained within the movement, and organized an exhibition of current Surrealist work in 1978 in response to an earlier show which infuriated him because it did not properly represent Surrealism. Surrealism_sentence_215

Maddox's exhibition, titled Surrealism Unlimited, was held in Paris and attracted international attention. Surrealism_sentence_216

He held his last one-man show in 2002, and died three years later. Surrealism_sentence_217

Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in 1951's Personal Values (Les Valeurs Personnelles) and 1954's Empire of Light (L’Empire des lumières). Surrealism_sentence_218

Magritte continued to produce works which have entered artistic vocabulary, such as Castle in the Pyrenees (Le Château des Pyrénées), which refers back to Voix from 1931, in its suspension over a landscape. Surrealism_sentence_219

Other figures from the Surrealist movement were expelled. Surrealism_sentence_220

Several of these artists, like Roberto Matta (by his own description) "remained close to Surrealism". Surrealism_sentence_221

After the crushing of the Hungarian Revolution of 1956, Endre Rozsda returned to Paris to continue creating his own word that had been transcended the surrealism. Surrealism_sentence_222

The preface to his first exhibition in the Furstenberg Gallery (1957) was written by Breton yet. Surrealism_sentence_223

Many new artists explicitly took up the Surrealist banner. Surrealism_sentence_224

Dorothea Tanning and Louise Bourgeois continued to work, for example, with Tanning's Rainy Day Canape from 1970. Surrealism_sentence_225

Duchamp continued to produce sculpture in secret including an installation with the realistic depiction of a woman viewable only through a peephole. Surrealism_sentence_226

Breton continued to write and espouse the importance of liberating the human mind, as with the publication The Tower of Light in 1952. Surrealism_sentence_227

Breton's return to France after the War, began a new phase of Surrealist activity in Paris, and his critiques of rationalism and dualism found a new audience. Surrealism_sentence_228

Breton insisted that Surrealism was an ongoing revolt against the reduction of humanity to market relationships, religious gestures and misery and to espouse the importance of liberating the human mind. Surrealism_sentence_229

Major exhibitions of the 1940s, '50s and '60s Surrealism_sentence_230


  • 1942 - First Papers of Surrealism - New York - The Surrealists again called on Duchamp to design an exhibition. This time he wove a 3-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works. He made a secret arrangement with an associate's son to bring his friends to the opening of the show, so that when the finely dressed patrons arrived they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. His design for the show's catalog included "found", rather than posed, photographs of the artists.Surrealism_item_2_9
  • 1947 - International Surrealist Exhibition - Galerie Maeght, ParisSurrealism_item_2_10
  • 1959 - International Surrealist Exhibition - ParisSurrealism_item_2_11
  • 1960 - Surrealist Intrusion in the Enchanters' Domain - New YorkSurrealism_item_2_12

Post-Breton Surrealism Surrealism_section_12

In the 1960s, the artists and writers associated with the Situationist International were closely associated with Surrealism. Surrealism_sentence_231

While Guy Debord was critical of and distanced himself from Surrealism, others, such as Asger Jorn, were explicitly using Surrealist techniques and methods. Surrealism_sentence_232

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. Surrealism_sentence_233

Joan Miró would commemorate this in a painting titled May 1968. Surrealism_sentence_234

There were also groups who associated with both currents and were more attached to Surrealism, such as the Revolutionary Surrealist Group. Surrealism_sentence_235

During the 1980s, behind the Iron Curtain, Surrealism again entered into politics with an underground artistic opposition movement known as the Orange Alternative. Surrealism_sentence_236

The Orange Alternative was created in 1981 by Waldemar Fydrych (alias 'Major'), a graduate of history and art history at the University of Wrocław. Surrealism_sentence_237

They used Surrealist symbolism and terminology in their large scale happenings organized in the major Polish cities during the Jaruzelski regime, and painted Surrealist graffiti on spots covering up anti-regime slogans. Surrealism_sentence_238

Major himself was the author of a "Manifesto of Socialist Surrealism". Surrealism_sentence_239

In this manifesto, he stated that the socialist (communist) system had become so Surrealistic that it could be seen as an expression of art itself. Surrealism_sentence_240

Surrealistic art also remains popular with museum patrons. Surrealism_sentence_241

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. Surrealism_sentence_242

In 2002 the Met in New York City held a show, Desire Unbound, and the Centre Georges Pompidou in Paris a show called La Révolution surréaliste. Surrealism_sentence_243

Surrealists groups and literary publications have continued to be active up to the present day, with groups such as the Chicago Surrealist Group, the Leeds Surrealist Group, and the Surrealist Group of Stockholm. Surrealism_sentence_244

Jan Švankmajer of the Czech-Slovak Surrealists continues to make films and experiment with objects. Surrealism_sentence_245

Impact of Surrealism Surrealism_section_13

While Surrealism is typically associated with the arts, it has impacted many other fields. Surrealism_sentence_246

In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination. Surrealism_sentence_247

In addition to Surrealist theory being grounded in the ideas of Hegel, Marx and Freud, to its advocates its inherent dynamic is dialectical thought. Surrealism_sentence_248

Other sources used by Surrealism epigones Surrealism_section_14

Surrealists have also drawn on sources as seemingly diverse as Clark Ashton Smith, Montague Summers, Horace Walpole, Fantômas, The Residents, Bugs Bunny, comic strips, the obscure poet Samuel Greenberg and the hobo writer and humourist T-Bone Slim. Surrealism_sentence_249

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 confrontation with limiting social conditions. Surrealism_sentence_250

Thought of as the effort of humanity to liberate imagination as an act of insurrection against society, Surrealism finds precedents in the alchemists, possibly Dante, Hieronymus Bosch, Marquis de Sade, Charles Fourier, Comte de Lautreamont and Arthur Rimbaud. Surrealism_sentence_251

1960s riots Surrealism_section_15

Surrealists believe that non-Western cultures also provide a continued source of inspiration for Surrealist activity because some may induce a better balance between instrumental reason and imagination in flight than Western culture. Surrealism_sentence_252

Surrealism has had an identifiable impact on radical and revolutionary politics, both directly — as in some Surrealists joining or allying themselves with radical political groups, movements and parties — and indirectly — through the way in which Surrealists emphasize the intimate link between freeing imagination and the mind, and liberation from repressive and archaic social structures. Surrealism_sentence_253

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" quoted by The Situationists and Enragés from the originally Marxist “Rêvé-lutionary“ theory and praxis of Breton's French Surrealist group. Surrealism_sentence_254

Postmodernism and popular culture Surrealism_section_16

Many significant literary movements in the later half of the 20th century were directly or indirectly influenced by Surrealism. Surrealism_sentence_255

This period is known as the Postmodern era; though there's no widely agreed upon central definition of Postmodernism, many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism. Surrealism_sentence_256

Many writers from and associated with the Beat Generation were influenced greatly by Surrealists. Surrealism_sentence_257

Philip Lamantia and Ted Joans are often categorized as both Beat and Surrealist writers. Surrealism_sentence_258

Many other Beat writers show significant evidence of Surrealist influence. Surrealism_sentence_259

A few examples include Bob Kaufman, Gregory Corso, Allen Ginsberg, and Lawrence Ferlinghetti. Surrealism_sentence_260

Artaud in particular was very influential to many of the Beats, but especially Ginsberg and Carl Solomon. Surrealism_sentence_261

Ginsberg cites Artaud's "Van Gogh -- The Man Suicided by Society" as a direct influence on "Howl", along with Apollinaire's "Zone", García Lorca's "Ode to Walt Whitman", and Schwitters' "Priimiititiii". Surrealism_sentence_262

The structure of Breton's "Free Union" had a significant influence on Ginsberg's "Kaddish". Surrealism_sentence_263

In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie. Surrealism_sentence_264

William S. Burroughs, a core member of the Beat Generation and a postmodern novelist, developed the cut-up technique with former surrealist Brion Gysin—in which chance is used to dictate the composition of a text from words cut out of other sources—referring to it as the "Surrealist Lark" and recognizing its debt to the techniques of Tristan Tzara. Surrealism_sentence_265

Postmodern novelist Thomas Pynchon, who was also influenced by Beat fiction, experimented since the 1960s with the surrealist idea of startling juxtapositions; commenting on the "necessity of managing this procedure with some degree of care and skill", he added that "any old combination of details will not do. Surrealism_sentence_266

Spike Jones Jr., whose father's orchestral recordings had a deep and indelible effect on me as a child, said once in an interview, 'One of the things that people don't realize about Dad's kind of music is, when you replace a C-sharp with a gunshot, it has to be a C-sharp gunshot or it sounds awful.'" Surrealism_sentence_267

Many other postmodern fiction writers have been directly influenced by Surrealism. Surrealism_sentence_268

Paul Auster, for example, has translated Surrealist poetry and said the Surrealists were "a real discovery" for him. Surrealism_sentence_269

Salman Rushdie, when called a Magical Realist, said he saw his work instead "allied to surrealism". Surrealism_sentence_270

David Lynch regarded as a surrealist filmmaker being quoted, "David Lynch has once again risen to the spotlight as a champion of surrealism," in regard to his show Twin Peaks. Surrealism_sentence_271

For the work of other postmodernists, such as Donald Barthelme and Robert Coover, a broad comparison to Surrealism is common. Surrealism_sentence_272

Magic realism, a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Surrealism with its juxtaposition of the normal and the dream-like, as in the work of Gabriel García Márquez. Surrealism_sentence_273

Carlos Fuentes was inspired by the revolutionary voice in Surrealist poetry and points to inspiration Breton and Artaud found in Fuentes' homeland, Mexico. Surrealism_sentence_274

Though Surrealism was a direct influence on Magic Realism in its early stages, many Magic Realist writers and critics, such as Amaryll Chanady and S. P. Ganguly, while acknowledging the similarities, cite the many differences obscured by the direct comparison of Magic Realism and Surrealism such as an interest in psychology and the artefacts of European culture they claim is not present in Magic Realism. Surrealism_sentence_275

A prominent example of a Magic Realist writer who points to Surrealism as an early influence is Alejo Carpentier who also later criticized Surrealism's delineation between real and unreal as not representing the true South American experience. Surrealism_sentence_276

Surrealist groups Surrealism_section_17

See also: :Category:Surrealist groups Surrealism_sentence_277

Surrealist individuals and groups have carried on with Surrealism after the death of André Breton in 1966. Surrealism_sentence_278

The original Paris Surrealist Group was disbanded by member Jean Schuster in 1969, but another Parisian surrealist group was later formed. Surrealism_sentence_279

The current Surrealist Group of Paris has recently published the first issue of their new journal, Alcheringa. Surrealism_sentence_280

The Group of Czech-Slovak Surrealists never disbanded, and continue to publish their journal Analogon, which now spans 80 volumes. Surrealism_sentence_281

Surrealism and the theatre Surrealism_section_18

Surrealist theatre and Artaud's "Theatre of Cruelty" were inspirational to many within the group of playwrights that the critic Martin Esslin called the "Theatre of the Absurd" (in his 1963 book of the same name). Surrealism_sentence_282

Though not an organized movement, Esslin grouped these playwrights together based on some similarities of theme and technique; Esslin argues that these similarities may be traced to an influence from the Surrealists. Surrealism_sentence_283

Eugène Ionesco in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history. Surrealism_sentence_284

Samuel Beckett was also fond of Surrealists, even translating much of the poetry into English. Surrealism_sentence_285

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. Surrealism_sentence_286

Alice Farley is an American-born artist who became active during the 1970s in San Francisco after training in dance at the California Institute of the Arts. Surrealism_sentence_287

Farley uses vivid and elaborate costuming that she describes as "the vehicles of transformation capable of making a character's thoughts visible". Surrealism_sentence_288

Often collaborating with musicians such as Henry Threadgill, Farley explores the role of improvisation in dance, bringing in an automatic aspect to the productions. Surrealism_sentence_289

Farley has performed in a number of surrealist collaborations including the World Surrealist Exhibition in Chicago in 1976. Surrealism_sentence_290

Surrealism and comedy Surrealism_section_19

Main article: Surreal humour Surrealism_sentence_291

Alleged precursors in older art Surrealism_section_20

Various much older artists are sometimes claimed as precursors of Surrealism. Surrealism_sentence_292

Foremost among these are Hieronymus Bosch, and Giuseppe Arcimboldo, who Dalí called the "father of Surrealism." Surrealism_sentence_293

Apart from their followers, other artists who may be mentioned in this context include Joos de Momper, for some anthropomorphic landscapes. Surrealism_sentence_294

Many critics feel these works belong to fantastic art rather than having a significant connection with Surrealism. Surrealism_sentence_295

See also Surrealism_section_21


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