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SURREALISM Revision
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Surrealism (new)

May 06, 2015

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Page 1: Surrealism (new)

SURREALISM

Revision

Page 2: Surrealism (new)

Origin

• It was an artistic movement that brought together artists, thinkers and researchers

• They were involved in a hunt of sense of expression of the unconscious

• They were searching for the definition of n– New aesthetic– New humankind– New social order

Page 3: Surrealism (new)

Origin

• Their forerunners were the Italian Metaphysical painters

• It came into being after the French poet Andre Breton 1 published Manifeste du Surrealisme

• Breton suggested that rational thought was repressive to the powers of creativity and imagination and thus inimical to artistic expression

• Breton admired Freud and its concept of the subconscious

Page 4: Surrealism (new)

Beginnings

• It is closely related to some forms of abstract art

• At the end of World War I Tristan Tzara, leader of the Dada, wanted to attack society through scandal

• He believed that society that creates the monstrosity of war do not deserve art so he decided to create an anti-art, full of ugliness instead of beauty.

Page 5: Surrealism (new)

Beginnings

• Tzara wanted to offend the new industrial commercial world of the bourgeoisie.

• His victims did not feel insulted• They saw this art as a reaction against

old art• The result was the opposite to its

original one because anti-art became art.

Page 6: Surrealism (new)

Beginnings

• One group of artists did not follow Tzara´s ideas

• The Surrealist movement gained momentum after the Dadaá

• It was led by Breton• The artists researched and studied the work

of Freud and Jung• Some of the artists expressed themselves

– In the abstract tradition– In the symbolic tradition

Page 7: Surrealism (new)

Groups

• The two forms of expression formed two distinct trends:

–Automatism–Veristic

• There are two different interpretations of Freud and Jung

Page 8: Surrealism (new)

Automatists

• Artists interpreted it as referring to a suppression of consciousness in favour of the subconscious

• They were more focused on feeling and less analytical

• They understood Automatism as the automatic way in which the images of the subconscious reach the conscience.

• They believed that images should not be burdened with meaning.

Page 9: Surrealism (new)

Automatism

• They saw the academic discipline of art as intolerant of the free expression of feeling

• They felt form which had dominated the history of art, was a culprit in that intolerance

• They believed abstractionism was the only way to bring to life the images of the subconscious.

Page 10: Surrealism (new)

Automatism

• Coming from the Dada tradition, these artist:– Linked scandal– Insult– Irreverence toward the elite´s with

freedom

• They continued to believe that lack of form was a way to rebel against them.

Page 11: Surrealism (new)

Veristic Surrealists

• They interpreted automatism to mean allowing the images of the subconscious to surface undisturbed so that their meaning could be deciphered through analysis

• They wanted to faithfully represent these images as a link between:– The abstract spiritual realities– The real forms of the material world.

Page 12: Surrealism (new)

Veristic Surrealists

• To them the object stood as a metaphor for an inner reality

• Through metaphor the concrete world could be understood, not only by looking at the objects, but also by looking into them.

Page 13: Surrealism (new)

Veristic Surrealists

• They saw academic discipline and form as the means to represent the images of the subconscious with veracity

• The images would easily dissolve into the unknown

• They hoped to find a way to follow the images of the subconscious until the conscience could understand their meaning.

Page 14: Surrealism (new)

Veristic Surrealists

• The language of the subconscious is the image

• The consciousness had to learn to decode that language so it could translate it into its own language of words.

• Later they branched out into three other groups.

Page 15: Surrealism (new)

Struggle of Surrealism

• For the automatists the approach to the mystery of nature is to never become conscious of the mystery

• The Veristic Surrealist quest is none other than the one described by Breton as the cause of freedom and the transformation of man´s consciousness

Page 16: Surrealism (new)

Struggle of Surrealism

• In the works of surrealist we find – The legacy of

• Bosch• Brueguel• William Blake• The Symbolic painters of the 19th century

– The perennial questioning of philosophy– The search of psychology– The spirit of mysticism

Page 17: Surrealism (new)

Struggle of Surrealism

• It is a work based on the desire to permit the forces that created the world to illuminate our vision

• They must allow us to consciously develop our human potential.

Page 18: Surrealism (new)

Struggle of Surrealism

• Veristic surrealist recognize the difficulties that their movement has faced during the second half of the twentieth century as it attempted to become a major cultural force

• The United States wholeheartedly embraced abstraction and modernism.

Page 19: Surrealism (new)

Struggle of Surrealism

• They shared the belief of abstract artist that– the chaos of action painting and

automatism were expression of freedom and

– that form, subjugation and inhibition walked hand in hand

• The American art establishment looked at the image of form with mistrust until the advent of Pop Art.

Page 20: Surrealism (new)

Struggle of Surrealism

• The Surrealism had to fight against:– Pop-Art– Photorealism

• Veristic Surrealism is the only historical artistic expression still in want of recognition as a cultural force in the twentieth century

Page 21: Surrealism (new)

Characteristics

• It was highly influenced by the psychoanalysis:– Images are as confusing and startling as

those of dreams– Can have a realistic, though irrational

style, precisely describing dreamlike fantasies.

Page 22: Surrealism (new)

Characteristics

• They were influenced by:

•Symbolism•Metaphysical Painting of Giorgio de Chirico

•Dadaism

Page 23: Surrealism (new)

Characteristics

• Some of them have a more abstract style.

• In this case they invented spontaneous techniques, modelled upon the psychotherapeutic procedure of free association as a means to eliminate conscious control in order to express the working of the unconscious mind, such as exquisite corpse.

Page 24: Surrealism (new)

Exquisite Corpse

• There were aleatoric techniques for producing visual or literally art

• This activity was frequently considered as a game.

• It is based upon an old parlour game in which players take turns writing on a sheet of paper folded it to conceal part of the writing and them pass it to the next player for another contribution.

Page 25: Surrealism (new)

Exquisite Corpse

• This technique was used by artists to produce drawings and collages.

• The first efforts are reminiscent of children’s books that allow the making of pictures with multiple ages divided at various levels, involved assigning a section of a body to each player

Page 26: Surrealism (new)

Exquisite Corpse

• A majority resulted in images that only vaguely resembled the human form.

• Some participants in early exquisite corpses were Tanguy, Miro and Man Ray.

• Later adaptations have involved using other means of passing the work around, using different media.

Page 27: Surrealism (new)

Techniques

• Surrealism has the same lack of prejudice of Dadaism both in the use of photographic procedures and object production out of their normal use.

• Traditional techniques, because those can be appropriate for depicting imaginations

Page 28: Surrealism (new)

Artists

• Some of the better known representatives of this movement are:

• Max Ernst• Frida Kahlo• Marc Chagall• Joan Miro• Man Ray• Salvador Dali• René Magritte• Yves Tanguy• Oscar Dominguez

Page 29: Surrealism (new)

Joan Miro

• He used symbolic keys to depict the unconscious.

• His principle is not the organic world.• His world is simple, clear• His mythology is easy, transparent.• His painting is unstressed, freely

chromatic, without equilibrium among signs and colours

Page 31: Surrealism (new)

Salvador Dali

• His view is full of sexual connotations.• Highly rhetorical works.• Mix of lubricous and holy• He overcame cynically the bolshevism.• Ambiguous mix of reaction and

anarchy.• Very complicated compositions.

Page 33: Surrealism (new)

Rene Magritte

• He is the artist who worked in a deepest way the lack of logic of the image.

• He invented the anti-history• He discovered the non-sense of the

normal.• He created with great detail and realism

images of ambiguous significance that could have a double sense

Page 35: Surrealism (new)

Max Ernst

• He reached to the deepest critic of the form as a depiction and the style as something unitary.

• He used any technique that would be useful for transmitting his ideas. He used:– Collage– Frottage

• His work is frequently a pile of rubbish of bourgeois culture.

Page 36: Surrealism (new)

Hans Arp

• He was previously involved in the Dadaism.

• He depicted organic forms, both in painting and sculpture.

• He used:– Geometric shapes– Orthogonal images– Continuously curve forms, concave and

convex.

Page 37: Surrealism (new)

Yves Tanguy

•He invented the anti-Nature:–Never ending landscapes, –Planet like settings–Lack of light and sun–Remains of an organic life:

•Bones•Mummified fruits•Fossils and shells

Page 38: Surrealism (new)

Expansion

• Other artist contributed to the expansion of the Surrealism, equally in Europe and in the United States.

• Soon it appeared as a way of eluding the reality of the problems through:– Ambiguity– Paradox

Page 39: Surrealism (new)

Expansion

• The movement gained prestige with the adhesion of artists such as Picasso.

• The analytical cubism, discomposing the objects did a similar work as that of the Surrealism.

Page 40: Surrealism (new)

Oscar DominguezTanguy

Page 41: Surrealism (new)

Chagall

Frida Kahlo