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Surrealism
Started: 1924
Ended: 1966
 "Although the dream is a very strange phenomenon and an
Surrealism inexplicable mystery, far more inexplicable is the mystery and aspect
our minds confer on certain objects and aspects of life."
Summary
Key Ideas 1 of 17

Key Artists

Important Art +
History and Ideas
Summary of Surrealism
Beginnings The Surrealists sought to channel the unconscious as a means to unlock the power of the
Concepts, Styles, imagination. Disdaining rationalism and literary realism, and powerfully influenced by
and Trends
+
psychoanalysis, the Surrealists believed the rational mind repressed the power of the
Later Developments + imagination, weighing it down with taboos. Influenced also by Karl Marx, they hoped that the
psyche had the power to reveal the contradictions in the everyday world and spur on
Useful Resources
revolution. Their emphasis on the power of personal imagination puts them in the tradition of
Similar Art and Related Romanticism, but unlike their forebears, they believed that revelations could be found on the
Pages
street and in everyday life. The Surrealist impulse to tap the unconscious mind, and their
interests in myth and primitivism, went on to shape many later movements, and the style
remains influential to this today.

Key Ideas & Accomplishments

André Breton defined Surrealism as "psychic automatism in its pure state, by which one
proposes to express - verbally, by means of the written word, or in any other manner - the
actual functioning of thought." What Breton is proposing is that artists bypass reason and
rationality by accessing their unconscious mind. In practice, these techniques became
known as automatism or automatic writing, which allowed artists to forgo conscious
thought and embrace chance when creating art.

The work of Sigmund Freud was profoundly influential for Surrealists, particularly his book,
The Interpretation of Dreams (1899). Freud legitimized the importance of dreams and the
unconscious as valid revelations of human emotion and desires; his exposure of the
complex and repressed inner worlds of sexuality, desire, and violence provided a theoretical
basis for much of Surrealism.

Surrealist imagery is probably the most recognizable element of the movement, yet it is
also the most elusive to categorize and define. Each artist relied on their own recurring
motifs arisen through their dreams or/and unconscious mind. At its basic, the imagery is
outlandish, perplexing, and even uncanny, as it is meant to jolt the viewer out of their
comforting assumptions. Nature, however, is the most frequent imagery: Max Ernst was
obsessed with birds and had a bird alter ego, Salvador Dalí's works often include ants or
eggs, and Joan Miró relied strongly on vague biomorphic imagery.

Key Artists

André Breton Hans Arp

 André Breton Hans Arp
Overview, Artworks, and Biography Overview, Artworks, and Biography

Max Ernst Salvador Dalí

Overview, Artworks, and Biography Overview, Artworks, and Biography

Overview of Surrealism

Building upon the anti-rationalism of Dada, the Surrealists made

powerful art and offered a new direction for exploration, as Max
Ernst said: "creativity is that marvelous capacity to grasp mutually
distinct realities and draw a spark from their juxtaposition."

Beginnings and Concepts, Trends, Later

Development & Related Topics Developments and
Legacy

Artworks and Artists of Surrealism

Carnival of Harlequin (1924-25)

Artist: Joan Miró

Miró created elaborate, fantastical

spaces in his paintings that are an
excellent example of Surrealism in
their reliance on dream-like imagery
and their use of biomorphism.
Biomorphic shapes are those that
resemble organic beings but that are
hard to identify as any specific thing;
the shapes seem to self-generate,
morph, and dance on the canvas.
While there is the suggestion of a
believable three-dimensional space in
Carnaval d'Arlequin, the playful shapes
are arranged with an all-over quality
that is common to many of Miró's
works during his Surrealist period, and
that would eventually lead him to
further abstraction. Miró was
especially known for his use of
automatic writing techniques in the
creation of his works, particularly
doodling or automatic drawing, which
is how he began many of his
canvases. He is best known for his
works such as this that depict chaotic
yet lighthearted interior scenes, taking
his influence from Dutch 17th-century
interiors.

Oil on canvas - Albright-Knox Art Gallery,

Buffalo, New York

The Human Condition (1933)

Artist: René Magritte

The iconic and enigmatic René

Magritte's works tend to be
intellectual, often dealing with visual
puns and the relation between the
representation of something and the
thing itself. In The Human Condition a
canvas sits on an easel before a
curtained window and reproduces
exactly the scene outside the window
that would be behind the canvas, thus
the image on the easel in a sense
becomes the scene, not just a
reproduction of the landscape. There
is in effect no difference between the
two as both are fabrications of the
artist. The hyperrealist painting style
often used by Surrealists makes the
odd setup seem dreamlike.

Oil on canvas - Los Angeles County

Museum of Art

Mama, Papa is Wounded! (1927)

Artist: Yves Tanguy

The most pivotal moment for Tanguy

in his decision to become a painter
was his sighting of a canvas by
Giorgio de Chirico in a shop window in
1923. The next year, Tanguy, the poet
Jacques Prévert, and the actor and
screenwriter Marcel Duhamel moved
into a house that was to become a
gathering place for the Surrealists, a
movement he became interested in
after reading the periodical La
Révolution surréaliste. André Breton
welcomed him into the group in 1925.
Tanguy was inspired by the
biomorphic forms of Jean Arp, Ernst,
and Miró, quickly developing his own
vocabulary of amoeba-like shapes that
populate arid, mysterious settings, no
doubt influenced by his youthful
travels to Argentina, Brazil, and
Tunisia. Despite his lack of formal
training, Tanguy's mature style
emerged by 1927, characterized by
deserted landscapes littered with
fantastical rocklike objects painted
with a precise illusionism. The works
usually have an overcast sky with a
view thatseems to stretch endlessly.

Mama, Papa is Wounded depicts

Tanguy's most common subject
matter of war. The work is painted in a
hyperrealist style with his distinctive
limited color palette, both of which
create a sense of dream-like reality.
Tanguy often found the titles of works
while looking through psychiatric case
histories for compelling statements by
patients. Given that, it is difficult to
know if this work is relevant to his own
family history as he claimed to have
imagined the painting in its entirety
before he began it. His brother was
killed in World War I and the bleakness
of the landscape may refer generally to
losses suffered in the war by
thousands of French families. De
Chirico's influence on Tanguy's work is
obvious here in his use of falling
shadows and a classical torso in the
landscape.
 Oil on Canvas - The Museum of Modern
Art, New York

The Accommodations of Desire

(1929)
Artist: Salvador Dalí

Painted in the summer of 1929 just

after Dalí went to Paris for his first
Artwork Images
Surrealist exhibition, The
Accommodations of Desire is a prime
example of Dalí's ability to render his
vivid and bizarre dreams with
seemingly journalistic accuracy. He
developed the paranoid-critical
method, which involved systematic
irrational thought and self-induced
paranoia as a way to access his
unconscious. He referred to the
resulting works as "hand-painted
dream photographs" because of their
realism coupled with their eerie dream
quality. The narrative of this work
stems from Dalí's anxieties over his
affair with Gala Eluard, wife of artist
Paul Eluard. The lumpish white
"pebbles" depict his insecurities about
his future with Gala, circling around the
concepts of terror and decay. While
The Accommodations of Desire is an
exposé of Dalí's deepest fears, it
combines his typical hyper-realistic
painting style with more experimental
collage techniques. The lion heads are
glued onto the canvas, and are
believed to have been cut from a
children's book.

Oil and cut-and-pasted printed paper on

canvas - The Metropolitan Museum of
Art, New York

The Palace at 4 a.m. (1932)

Artist: Alberto Giacometti

Giacometti was one of the few

Surrealists who focused on sculpture.
Artwork Images
The Palace at 4 a.m. is a delicate
construction that was inspired by his
obsession with a lover named Denise
 obsess o t a o e a ed e se
the previous year. Of the affair he said,
"a period of six months passed in the
presence of a woman who,
concentrating all life in herself,
transported my every moment into a
state of enchantment. We constructed
a fantastical palace in the night - a
very fragile palace of matches. At the
least false movement a whole section
would collapse. We always began it
again." In 1933, he told Breton that he
was incapable of making anything that
did not have something to do with her.

The work includes representations or

symbols of his love interest as well as
perhaps of his mother. Other imagery,
such as the bird, is less easy to
interpret. Thus, the work is
characterized by its bizarre
juxtaposition of objects and a title that
is seemingly unrelated to the
constructed scene, giving the piece an
undercurrent of mystery and tension
as if something frightening is about to
occur. The work, in its child-like
simplicity, captures the fragility of
memory and desire. Giacometti's
postwar interest in Existentialism is
already evident here in how he
represents the isolation of the various
figures.

Wood, glass, wire, and string - The

Museum of Modern Art, New York

Battle of Fishes (1926)

Artist: André Masson

Masson was one of the most

enthusiastic followers of Breton's
Artwork Images
automatic writing, having begun his
own independent experiments in the
early 1920s. He would often produce
art under exacting conditions, using
drugs, going without sleep, or
sustenance in order to relax conscious
control of his art making so that he
could access his unconscious.
Masson, along with his neighbors
Joan Miró, Antonin Artuad, and others
would sometimes experiment
together. He is best known for his use
of sand. In an effort to introduce
chance into his works, he would throw
glue or gesso onto a canvas and then
sand. His oil paintings were made
based on the resulting shapes.

Battle of the Fishes perhaps references

his experiences in WWI. He signed up
to fight and after three years, was
seriously injured, taking months to
recover in an army hospital and
spending time in a psychiatric facility.
He was unable for many years to
speak of the things he witnessed as a
soldier, but his art consistently depicts
massacres, bizarre confrontations,
rape, and dismemberment. Masson
himself observed that male figures in
his art rarely escape unharmed. Battle
of Fishes has subdued color, but the
fish seem involved in a vicious battle
to the death with their razor-like teeth
and spilled blood. Masson believed
that the use of chance in art would
reveal the sadism of all creatures - an
idea that he could only reveal in his art.

Oil on canvas - The Museum of Modern

Art, New York

Object (1936)
Artist: Meret Oppenheim

Oppenheim was one of the few

women Surrealists whose work was
exhibited with the group. Like
Giacometti she worked primarily with
objects. This work, also known under
the title Luncheon in Fur, with its
unsettling juxtaposition of a domestic
object and animality, is a
quintessential example of Surrealist
ideas. The artist makes strange a
teacup, saucer, and spoon purchased
at typical department store - objects
that were familiar are made
disturbingly off-putting as the viewer
f f
 must imagine drinking tea from a fur-
covered cup.

Fur-covered cup, saucer, and spoon -

The Museum of Modern Art, New York

The Barbarians (1937)

Artist: Max Ernst

Max Ernst was known for his

automatic writing techniques including
Artwork Images
frottage, grattage, and collage. Here he
uses grattage, which requires taking a
painted canvas, placing it on a
textured surface, and scraping off
paint. The method introduces
elements of chance and
unpredictability to the work as the
artist is forced to release some control
of the creative process. The grattaged
canvas was then used by Ernst as
inspiration for further imagery. The
Barbarians is typically Surrealist as it is
fraught with bizarre juxtapositions,
mysterious figures, and dream-inspired
symbols. The bird imagery is one of
the staples of Ernst's work - he
experienced a childhood trauma
related to the death of his pet bird and
as an adult developed a bird alter ego
named Loplop.

Oil on wood with painted wood

elements - The Museum of Modern Art,
New York

Mannequin (1938)
Artist: Man Ray

Mannequin depicts André Masson's

mannequin at the Exposition
Artwork Images
International du Surrealisme, Galerie
des Beaux-Arts, in Paris 1938. Joan
Miró, Salvador Dalí, Maurice Henry, and
others also designed these weird
mannequins to fill a room with
uncanny female forms that looked
both monstrous and sexually alluring.
Man Ray photographed them all as
discreet characters, of which this is
 one example. He repeatedly
photographed his assistant, artist Lee
Miller, and many other women, both
living and inanimate. Like Hans
Bellmer, an artist peripherally
associated with the group, Ray was
obsessed with the female form as the
perfect embodiment of male desire,
and sought to capture it formally in
fantastical ways. Man Ray also
pioneered many photographic
techniques, including rayographs,
named after himself, that incorporate
elements of chance and in which
subjects appear to glow in dream-like
silver auras.

Assemblage of wood, oil, metal, board

on board, with artist's frame - National
Gallery of Australia

Birthday (1942)
Artist: Dorothea Tanning

Birthday is a self-portrait that Dorothea

Tanning painted to commemorate her
Artwork Images
30th birthday. Viewed up close, one
notices the infinite rooms recessing
into the background, symbolizing
Tanning's unconscious mind. Many
Surrealists felt architectural imagery
was well-suited to expressing notions
of a labyrinthine self that changes and
expands over time; Birthday is one of
the best examples of this. Also
notable is the gargoyle at the subject's
feet. Tanning said this was her
rendition of a lemur, which has been
associated with death spirits. Tanning
juxtaposed natural imagery, like the
skirt made of roots, against objects
representing high culture, like fancy
apparel and interior design, to pay
homage to culture as well as to
express nature and wilderness as a
feminine construct.

Oil on canvas - The Philadelphia

Museum of Art
Beginnings of Surrealism

Surrealism grew out of the Dada

movement, which was also in rebellion
against middle-class complacency. Artistic
influences, however, came from many
different sources. The most immediate
influence for several of the Surrealists was
Giorgio de Chirico, their contemporary
who, like them, used bizarre imagery with
unsettling juxtapositions (and his
Metaphysical Painting movement). They
were also drawn to artists from the recent
past who were interested in primitivism,
the naive, or fantastical imagery, such as
Gustave Moreau, Arnold Bocklin, Odilon
Redon, and Henri Rousseau. Even artists
from as far back as the Renaissance, such as Giuseppe Arcimboldo and Hieronymous Bosch,
provided inspiration in so far as these artists were not overly concerned with aesthetic issues
involving line and color, but instead felt compelled to create what Surrealists thought of as the
"real."

The Surrealist movement began as a literary group strongly allied to Dada, emerging in the
wake of the collapse of Dada in Paris, when André Breton's eagerness to bring purpose to
Dada clashed with Tristan Tzara's anti-authoritarianism. Breton, who is occasionally described
as the 'Pope' of Surrealism, officially founded the movement in 1924 when he wrote "The
Surrealist Manifesto." However, the term "surrealism," was first coined in 1917 by Guillaume
Apollinaire when he used it in program notes for the ballet Parade, written by Pablo Picasso,
Leonide Massine, Jean Cocteau, and Erik Satie.

Around the same

time that Breton
published his
inaugural
manifesto, the
group began
publishing the
journal La
Révolution
surréaliste, which
was largely
focused on
writing, but also
included art
reproductions by
artists such as de
Chirico, Ernst,
André Masson and Man Ray Publication continued until 1929
André Masson, and Man Ray. Publication continued until 1929.

The Bureau for Surrealist Research or Centrale Surréaliste was also established in Paris in
1924. This was a loosely affiliated group of writers and artists who met and conducted
interviews to "gather all the information possible related to forms that might express the
unconscious activity of the mind." Headed by Breton, the Bureau created a dual archive: one
that collected dream imagery and one that collected material related to social life. At least
two people manned the office each day - one to greet visitors and the other to write down the
observations and comments of the visitors that then became part of the archive. In January of
1925, the Bureau officially published its revolutionary intent that was signed by 27 people,
including Breton, Ernst, and Masson.

Surrealism: Concepts, Styles, and Trends

Surrealism shared much of the anti-rationalism of Dada, the movement out of which it grew.
The original Parisian Surrealists used art as a reprieve from violent political situations and to
address the unease they felt about the world's uncertainties. By employing fantasy and dream
imagery, artists generated creative works in a variety of media that exposed their inner minds
in eccentric, symbolic ways, uncovering anxieties and treating them analytically through visual
means.

Surrealist Paintings
There were two styles or methods that distinguished Surrealist painting. Artists such as
Salvador Dalí, Yves Tanguy, and René Magritte painted in a hyper-realistic style in which
objects were depicted in crisp detail and with the illusion of three-dimensionality, emphasizing
their dream-like quality. The color in these works was often either saturated (Dalí) or
monochromatic (Tanguy), both choices conveying a dream state.

Several Surrealists also relied heavily on automatism or automatic writing as a way to tap into
the unconscious mind. Artists such as Joan Miró and Max Ernst used various techniques to
create unlikely and often outlandish imagery including collage, doodling, frottage,
decalcomania, and grattage. Artists such as Hans Arp also created collages as stand-alone
works.

Hyperrealism and automatism were not mutually exclusive. Miro, for example, often used both
methods in one work. In either case, however the subject matter was arrived at or depicted, it
was always bizarre - meant to disturb and baffle.

Surrealist Objects and Sculptures

Breton felt that the object had been in a state of crisis since the early-19th century and thought
this impasse could be overcome if the object in all its strangeness could be seen as if for the
first time. The strategy was not to make Surreal objects for the sake of shocking the middle
class a la Dada but to make objects "surreal" by what he called dépayesment or estrangement.
The goal was the displacement of the object, removing it from its expected context,
"defamilarizing" it. Once the object was removed from its normal circumstances, it could be
seen without the mask of its cultural context. These incongruous combinations of objects
were also thought to reveal the fraught sexual and psychological forces hidden beneath the
surface of reality.

A li i d b fS li k f h i h di i l k A h b
A limited number of Surrealists are known for their three-dimensional work. Arp, who began
as part of the Dada movement, was known for his biomorphic objects. Oppenheim's pieces
were bizarre combinations that removed familiar objects from their everyday context, while
Giacometti's were more traditional sculptural forms, many of which were human-insect hybrid
figures. Dalí, less known for his 3D work, did produce some interesting installations,
particularly, Rainy Taxi (1938), which was an automobile with mannequins and a series of
pipes that created "rain" in the car's interior.
Surrealist Sculpture - Movement Page

Surrealist Photography
Photography, because of the ease
with which it allowed artists to
produce uncanny imagery,
occupied a central role in
Surrealism. Artists such as Man
Ray and Maurice Tabard used the
medium to explore automatic
writing, using techniques such as
double exposure, combination
printing, montage, and
solarization, the latter of which
eschewed the camera altogether.
Other photographers used rotation or distortion to render bizarre images.

The Surrealists also appreciated the prosaic photograph removed from its mundane context
and seen through the lens of Surrealist sensibility. Vernacular snapshots, police photographs,
movie stills, and documentary photographs all were published in Surrealist journals like La
Révolution surréaliste and Minotaure, totally disconnected from their original purposes. The
Surrealists, for example, were enthusiastic about Eugène Atget's photographs of Paris.
Published in 1926 in La Révolution surréaliste at the prompting of his neighbor, Man Ray,
Atget's imagery of a quickly vanishing Paris was understood as impulsive visions. Atget's
photographs of empty streets and shop windows recalled the Surrealist's own vision of Paris
as a "dream capital."
Dada & Surrealist Photography - Movement Page

Surrealist Film
Surrealism was the first artistic movement to experiment with cinema in part because it
offered more opportunity than theatre to create the bizarre or the unreal. The first film
characterized as Surrealist was the 1924 Entr'acte, a 22-minute, silent film, written by Rene
Clair and Francis Picabia, and directed by Clair. But, the most famous Surrealist filmmaker
was of course Luis Buñuel. Working with Dalí, Buñuel made the classic films Un Chien Andalou
(1929) and L'Age d'Or (1930), both of which were characterized by narrative disjunction and
their peculiar, sometimes disturbing imagery. In the 1930s Joseph Cornell produced surrealist
films in the United States, such as Rose Hobart (1936). Salvador Dalí designed a dream
sequence for Alfred Hitchcock's Spellbound (1945).
Surrealist Film - Movement Page

The Rise and Decline of Surrealism

 Though Surrealism
originated in France, strains
of it can be identified in art
throughout the world.
Particularly in the 1930s
and 1940s, many artists
were swept into its orbit as
increasing political
upheaval and a second
global war encouraged
fears that human
civilization was in a state
of crisis and collapse. The
emigration of many
Surrealists to the Americas
during WWII spread their
ideas further. Following the
war, however, the group's
ideas were challenged by
the rise of Existentialism,
which, while also celebrating individualism, was more rationally based than Surrealism. In the
arts, the Abstract Expressionists incorporated Surrealist ideas and usurped their dominance
by pioneering new techniques for representing the unconscious. Breton became increasingly
interested in revolutionary political activism as the movement's primary goal. The result was
the dispersal of the original movement into smaller factions of artists. The Bretonians, such
as Roberto Matta, believed that art was inherently political. Others, like Yves Tanguy, Max
Ernst, and Dorothea Tanning, remained in America to separate from Breton. Salvador Dalí,
likewise, retreated to Spain, believing in the centrality of the individual in art.

Later Developments - After Surrealism

Abstract Expressionism
In 1936, the Museum of Modern Art in New York staged an exhibition entitled Fantastic Art,
Dada, Surrealism, and many American artists were powerfully impressed by it. Some, such as
Jackson Pollock, began to experiment with automatism, and with imagery that seemed to
derive from the unconscious - experiments which would later lead to his "drip" paintings.
Robert Motherwell, similarly, is said to have been "stuck between the two worlds" of
abstraction and automatism.

Largely because of political upheaval in Europe, New York rather than Paris became the
emergent center of a new vanguard, one that favored tapping the unconscious through
abstraction as opposed to the "hand-painted dreams" of Salvador Dalí. Peggy Guggenheim's
1942 exhibition of Surrealist-influenced artists (Rothko, Gottlieb, Motherwell, Baziotes,
Hoffman, Still, and Pollock) alongside European artists Miró, Klee, and Masson, underscores
the speed with which Surrealist concepts spread through the New York art community.
Abstract Expressionism Movement Page
 Abstract Expressionism Movement Page

Feminism and Women Surrealists

The Surrealists have often been depicted as a tightly knit group of men, and their art often
envisioned women as wild "others" to the cultured, rational world. Work by feminist art
historians has since corrected this impression, not only highlighting the number of women
Surrealists who were active in the group, particularly in the 1930s, but also analyzing the
gender stereotypes at work in much Surrealist art. Feminist art critics, such as Dawn Ades,
Mary Ann Caws, and Whitney Chadwick, have devoted several books and exhibitions to this
subject.

While most of the male Surrealists, especially Man Ray, Magritte, and Dalí, repeatedly focused
on and/or distorted the female form and depicted women as muses, much in the way that
male artists had for centuries, female Surrealists such as Claude Cahun, Lee Miller, Leonora
Carrington, and Dorothea Tanning, sought to address the problematic adoption of Freudian
psychoanalysis that often cast women as monstrous and lesser. Thus, many female
Surrealists experimented with cross-dressing and depicted themselves as animals or mythic
creatures.

British Surrealism
<i>Circle of the Monoliths</i> (1937-38) by Interestingly, many notable female
Paul Nash features many aspects particular to Surrealists were British. Examples
British Surrealism include Eileen Agar, Ithell Colquhoun,
Edith Rimmington, and Emmy Bridgwater.
Particular to the British interpretation of
Surrealist ideology was an ongoing
exploration of human relations with their
surrounding natural environment and
most prominently, with the sea. Alongside
Agar, Paul Nash developed an interest in
the object trouvé, usually in the form of items collected from the beach. The focus on the
border where land meets the sea, and where rocks anthropomorphically resemble people
struck a cord with British identity and more generally, with Surrealist principles of reconciling
and uniting opposites.

The International Surrealist Exhibition (1936) held in London was a particular catalyst for many
British artists. Headed by Roland Penrose and Herbert Read, the movement thrived in Britain,
creating the international icons Leonora Carrington and Lee Miller, and also spurring on the
practice of another important circle of artists surrounding Ben Nicholson, Barbara Hepworth,
and Henry Moore. Overall, the privileging of an eccentric imagination and essential rejection
of standardized and rational modes of doing things resonated well from the outset. This
golden period for art in general in the UK, and more specifically the legacies of British
Surrealism continue to influence the country’s art practice today.

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