Presentation on theme: "Surrealism Circa 1921 – 1940 " Beautiful as the chance encounter of a sewing machine and an umbrella on a dissection table. - Lautréamont Les chants de."— Presentation transcript:
Surrealism Circa 1921 – 1940 " Beautiful as the chance encounter of a sewing machine and an umbrella on a dissection table. - Lautréamont Les chants de Maldoror
The Surrealist Revolution (left) Photomontage for La Révolution Surréaliste, nº 12, 1929 by René Magritte (Belgian, ), Enquête sur l'amour (Inquiry on Love) (bottom right) Surrealist group, Paris, 1930, L-R: Tristan Tzara, Paul Eluard, André Breton, Hans Arp, Salvador Dali, Yves Tanguy, Max Ernst, René Crevel, Man Ray
(left) The World in the Time of the Surrealists, Brussels, 1929 "We are determined to make a Revolution." "We have joined the word surrealism to the word revolution solely to show the disinterested, detached and even entirely desperate character of this revolution." - André Breton (right) Easter Island, Polynesia, ceremonial dance paddle (rapa) from André Bretons collection of Oceanic art. It represents a highly stylized male figure with Janus-face head and phallic finial showing retracted foreskin.
Precursors to Surrealism: 19 th Century Romanticism and Symbolism (left) Arnold Bocklin, The Isle of the Dead, 1880, oil on canvas, Symbolism (right) Francisco Goya, Saturn c , Oil on plaster remounted on canvas, Romanticism
Naturalist or Hand Painted Dream Surrealism René Magritte (Belgian, ) The Treachery of Images, , oil on canvas, 23 x 31, LACMA, Deconstruction
Magritte, The False Mirror, 1928, oil on canvas, 212 x 31, MoMA NYC
Magritte, Les Valeurs personnelles (Personal Values), 1952, 31 1/2 in. x 39 3/8 in., oil on canvas, SFMOMA John Baldessari at 2007 exhibition he designed: Treachery of Images: René Magritte and Contemporary Art. LACMA
(left) Charles Ray (American, b. 1953), Fall '91, 1992, mixed media, 96 in. H (right) Robert Gober (American, b.1954), Untitled, , mixed media
(left) Robert Gober, Untitled, 1990, beeswax, human hair, pigment (right) Magritte, The Rape, 1935, oil on canvas
"The eye exists in its savage state. The marvels of the earth... have as their sole witness the wild eye that traces all its colors back to the rainbow." - André Breton
Surrealist magazine, La Révolution Surréaliste [The Surrealist Revolution, 12 issues, ] was modeled on the conservative scientific magazine, La Nature. In a mock scientific manner, specimens of automatic writing and records of dreams were illustrated with photographs, mostly by the machine-poet Man Ray (American, ). The review succeeded in shocking everyone.
Man Ray, Minotaur, 1933, for the Surrealist magazine, Minotaur. Collapses human and animal into a single (border) impossible category: bull-human, like the Greek mythical monster.
Man Ray, Anatomies, c phallus-neck (double entendre) The frame announces the cameras ability to find and isolate what we could call the worlds constant writing of erotic symbols, its ceaseless automatism.
(left) Lee Miller (American, ), Nude Bent Forward, Paris, 1931 (right) Dora Maar (French, ), Le Pere Ubu, 1936 Surrealist defamiliarization becomes Formless (Informe) of the subconscious and the dream
AUTOMATONS and mannequins: Hans Bellmer (Polish, ), La Poupée (Doll), , hand colored gelatin silver print (right) Bellmer, La Poupée, : (center) La Poupée), 1934; gelatin silver prints Dolls are made of wood, metal, papier-mâché and dressed with wigs, clothing, etc. or not The art object is not the sculpture; it is the photograph.
SURREALIST PHOTOGRAPHY: MANNIQUINS AND DISTORTIONS Eugène Atget (French ), Boulevard de Strasbourg, Corsets, 1912, albumen silver print André Kertész (Hungarian, ), Distortion #4, 1933, gelatin silver print
Luis Bunuel & Salvador Dali, frames from Un Chien Andalou (France) An Andalusian Dog, Surrealist film, Eyes, insects, metamorphosis, erotics, madness of the dream & subconscious
METAMOPHOSIS OF FORM Salvador Dali (Spanish, ) interpreted photograph, Paranoic Face, 1931 from Le Surrealisme au Service de la Revolution, no.3.voluntary hallucination" = the "critical paranoic method" (right) Dali, Apparition of a face and a Fruit Dish, 1930 I think the time is rapidly coming when it will be possible…to systematize confusion thanks to a paranoiac and active process of thought, and so assist in discrediting completely the world of reality. - Dali
Salvador Dali, The Lugubrious Game, 1929, oil on canvas "Repugnance is the sentry standing right near the door to those things that we desire most. - Salvador Dali
Salvador Dali, The Persistence of Memory, 1931 oil on canvas, 9 x 13, MoMA NYC The transcription of reveries. Hand-painted dream photographs. Dalis morphological aesthetics of the soft and hard and the search for form: un-form (Informe) Cape Creus, Catalonia
ANXIOUS VISIONS for Anxious Times – social contexts of Surrealist imagery (left) Salvador Dali, Soft Construction with Boiled Beans: Premonitions of Civil War, 1936, oil on canvas, 39 x 39 (Spanish Civil War), Surrealism (right) compare Francisco Goya, 1821 (Napoleonic wars in Spain), Romanticism
Pablo Picasso, Guernica, 1937, oil on canvas, 116 x 258, Madrid
AUTOMATISM: Surrealist exquisite corpse drawings (left) by Yves Tanguy, Man Ray, Max Morise, Joan Miró, c (right) exquisite corpse by Victor Brauner, André Breton, Jacques Hérold and Yves Tanguy, 1935.
AUTOMATISM and abstract biomorphic Surrealism André Masson (French, ) Quare de vulva exuxiste me (Why didst thou bring me forth from the womb?), 1923, pen & ink on paper (right) Battle of Fishes, 1926, sand, gesso, oil, pencil, and charcoal on canvas, 14 x 28,
Joan Miró (Spanish, ), Carnival of Harlequin, , oil on canvas, 26 x 36 Response to Cubism: "I will break their guitar."
BIOMORPHISM + POPULAR CULTURE Joan Mirò, Painting, 1933, oil on canvas, 58 x 65 MoMA, NYC (right) source collage of clippings from equipment catalogues
DISJUNCTION / READYMADE /UNCANNY OBJECT (left) Joan Miró, Object, assemblage: stuffed parrot on wood perch, stuffed silk stocking with velvet garter and dolls paper shoe suspended in hollow wood frame, derby hat, hanging cork ball, celluloid fish, and engraved map, 32 x 12 x 10, 1936 (right) Joseph Cornell (American, ] ) Medici Boy, mixed media assemblage
(left) Exhibition of Surrealist Objects, Paris, 1936, mock-scientific display (right) Marcel Duchamp, Surrealist Exhibition / Installation, 16 Miles of String, Peggy Guggenheim Gallery, NYC, 1942 – the labyrinth of the Minotaur
SURREALISM. DIASPORIC INDIGENISM / MAGIC REALISM Wilfredo Lam (Cuban, ), The Jungle, 1943, gouache on paper mounted on canvas, 710 x 76, MoMA NYC Santerìa: blend of African and Catholic religious practices (left) Wilfredo Lam in his Havana studio, 1947
Matta (Roberto Matta Echaurren, Chilean, ), Disasters of Mysticism, 1942 oil on canvas, 38 x 51
Frida Kahlo (Mexican, ) (right) What the Water Yields Me, oil on canvas,1938 Imogen Cunningham, Frida Kahlo in San Francisco, 1931
Kahlo, Henry Ford Hospital, 1932, oil on metal, 12 x 15.5 in. (compare left) Mexican ex-voto (retablo), oil on tin, 1878, 14" x 10"
Aztec goddess Tlazolteotl in the act of giving birth to a man. Kahlo, My Birth, 1932, painted after a miscarriage coinciding with the death of the artists mother How I imagined I was born. (a double death?)
Leonora Carrington (British-born Mexican Surrealist Painter and Writer, born in 1917) Self-Portrait (The White Horse Inn), , oil on canvas, 25 x 32
Dorothea Tanning (American, ) (left) Ein klein nachtmusik "A little night music," 1946 (right) Birthday, 1942, oil on canvas, x 25.5 inches (center, below) with husband Max Ernst, Sedona, Arizona, 1948
Dorothea Tanning, Hôtel du Pavot, cloth and mixed materials, permanent installation, life size, Centre Pompidou, Paris, 2000
Alberto Giacometti (Swiss, ), Suspended Ball, (1965 reconstruction), plaster and metal, 24 x 14 x 13 (right) Constantin Brancusi, Torse (wood 1922; bronze 1926) Sexual nudes undoing categories of masculine and feminine desire
Alberto Giacometti, Woman with Her Throat Cut (Femme égorgée), bronze, 8 x 34 x 25, MoMA, NYC
Giacometti, The Palace at 4 a.m., , construction in wood, glass, wire, and string, 25 x 28 x 16, MoMA NYC (top right) 1932 sketch indicates pre-conception
Details of Giacomettis The Palace at 4 A.M.
THE END OF THE AGE OF EUROPE AND EMERGENCE OF NEW YORK SCHOOL (left) Hitler occupies Paris, 1940 Artists in the Artists in Exile show at the Pierre Matisse Gallery, New York, March, Left to right, first row: Matta, Ossip Zadkine, Yves Tanguy, Max Ernst, Marc Chagall, Fernand Léger; second row: André Breton, Piet Mondrian, André Masson, Amédée Ozenfant, Jacques Lipchitz, Pavel Tchelitchew, Kurt Seligmann, Eugene Berman
END OF THE AGE OF EUROPE AND EMERGENCE OF NEW YORK SCHOOL Max Ernst, Europe After the Rain, , oil on canvas, 21 x 58, automatist technique of decalcomania, which involves pressing paint between two surfaces