Surrealists appeared in the aftermath of World War I with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins.This refusal to integrate into the bourgeois society was also a leitmotiv of Dada artists, and André Breton asserted that Dada does not produce perspective. Surrealism emerged amidst such feeling. Surrealists and Dada artists often changed from one movement to another.They were united by their superior intellectualism and the common goal to break free from the norm. Describing the Surrealists with their aversive resistance to the system, the author brings a new approach which strives to be relative and truthful. Provocation and cultural revolution: aren’t Surrealists after all just a direct product of creative individualism in this unsettled period?
Оглавление
Nathalia Brodskaya. Surrealism
Surrealism
Giorgio de Chirico: the Catalyst of Surrealism
The War – the Stimulus for Dada
Dada – the Cradle of Surrealism
Dada Outside Zürich
Dada in Paris
The Baptism of Surrealism
The Development of Surrealism
The Surrealists before Surrealism
Max Ernst. 1891–1976
Yves Tanguy. 1900–1955
Joan Miró. 1893–1983
André Masson. 1896–1987
René Magritte. 1898–1967
Salvador Dalí. 1904–1989
Paul Delvaux. 1897–1994
Surrealism without Frontiers
Отрывок из книги
Giorgio de Chirico, Premonitory Portrait of Guillaume Apollinaire, 1914.
Oil and charcoal on canvas, 81.5 × 65 cm.
.....
Oil on canvas, 56 × 66 cm.
The Metropolitan Museum of Art, George A. Hearn Fund, New York.
