1. SURREALISM is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings.cultural movement Surrealist works 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 being an artefact. Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement.non sequiturAndré Breton Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.Dadamusic

2. SALVADOR DOMINGO FELIPE JACINTO DALÍ I DOMÈNECH  (May 11, 1904 – January 23, 1989)  His painterly skills are often attributed to the influence of Renaissance masters.painterlyRenaissance  Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

3. THE PERSISTENCE OF MEMORY  1931. Oil on canvas, 9 1/2 x 13“

4. THE DISINTEGRATION OF THE PERSISTENCE OF MEMORY  1950’s  10” x 13”

5. MAX ERNST  (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphi c artist, and poet. A prolific artist, Ernst was one of the primary pioneers of the Dada movement and Surrealism.paintersculptorgraphi c artistDadaSurrealism

6. THE ELEPHANT CELEBES  Oil on Canvas 1921, 125.4cm x 107.9cm Tate Gallery, London  It was likely inspired by his war experience, the mechanistic elephant like a tank and the smoke trail in the sky suggesting a shot down aircraft. Fragments of body parts that appear in Ernst's work could have been associated with the actual battle field of horrific images and devastation. The fragmented body parts have also been historically interpreted as Surreal and fantasy psychological and modern symbols of disassociation of the body from the mind. With Ernst's background of psychology and his experience in the battlefield of WW1 it is likely that both were large influences on his artwork.

7. " A red wooden gate affixed to the painted surface opens onto a deceptively pastoral scene dominated by blue sky. One female figure brandishes a small knife as though fending off the unassuming nightingale at left; another falls limp in a swoon; a man who lights atop the roof carries off a third, his hand outstretched to grab the knob fastened to the old-fashioned frame. Ernst gave two autobiographical references for the nightingale: the death of his sister in 1897 and a fevered hallucination he experienced in which the wood grain on a panel near his bed took on "successively the aspect of an eye, a nose, a bird's head, a menacing nightingale, a spinning top, and so on." 1924 Two Children are Threatened by a Nightingale oil on wood & wooden elements

8. MC ESCHER  Maurits Cornelis Escher, usually referred to as M. C. Escher, was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. WikipediaWikipedia

9. RELATIVITY, 1953 WATERFALL, 1961

10. HANDS, 1948

11. RENE MAGRITTE  René François Ghislain Magritte (21 November 1898 – 15 August 1967) was a Belgian surrealist artist. He became well known for a number of witty and thought-provoking images that fell under the umbrella of surrealism. His work challenges observers' preconditioned perceptions of reality.Belgiansurrealist

12. THE EMPIRE OF LIGHT, C. 1950– 1954, MUSEUM OF MODERN ARTMUSEUM OF MODERN ART Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery

13. HIERONYMUS BOSCH, CA.1490-1510  The Garden of Earthly Delights  Art historians and critics frequently interpret the painting as a didactic warning on the perils of life's temptations. [6] However, the intricacy of its symbolism, particularly that of the central panel, has led to a wide range of scholarly interpretations over the centuries. [7] Twentieth-century art historians are divided as to whether the triptych's central panel is a moral warning or a panorama of paradise lost. [6] [7]