- Filename: the-secret-surrealist.
- ISBN: UCSD:31822003109121
- Release Date: 1987
- Number of pages: 112
- Author: Desmond Morris
- Publisher: Harpercollins
Art and writings by Surrealist painters and poets from a wide range of countries.
Miller as a writer whose work does something more profound and violent to literary conventions than produce novel effects: it announces the possibility of difference and instability within language itself.
"Long, intense years of immersion in the poetry and art of the Surrealist climate endow Mary Ann Caws' responses with what the Surrealists would have called authenticity -- a rare quality. Her present meditation offers a fresh view of unusual value in her stress on the element of the Baroque in Surrealists' works. I would say that Caws enters her thoughts on the history of Surrealism with perfect pitch; both eye and ear alert to every nuance, and mind attuned to their grandest illusions. She offers a lively argument which, with considerable daring, leads her readers deeply into Surrealist territory where they must, willingly, lose themselves." -- Dore Ashton, author and Professor of Art History at The Cooper Union How we look at Surrealism, how it looks at the objects it encounters, and how it looks from here: all these looks intertwine in this study linking Surrealism and the Baroque. "Le look" (whatever it might be): you have it or you don't, and Surrealism had it all the way. The emotional charge Surrealism extended to the objects of its encounter makes itself felt as at least philosophically erotic. This charged look determines the atmosphere around the Surrealist text and its encounters--in the world of art and the world it made into art. In this unprecedented attempt to make sense of the way Surrealism sees, conceals, poses, and stares at its own self and the selves of others, Mary Ann Caws examines the decors, games, portraits, transformations, and mirrorings that establish Surrealism's links to Baroque forms of representation. "We have to learn to look and to read slowly, " Caws writes. Her study begins with anexhortation to take one's time, for the figures in the carpet of this study are not easy, nor do they put one at ease. Take, for example, the self-portraits of Claude Cahum and Dorothea Tanning, Marcel Duchamp's creation Rrose Silavy, the crossing of Andri Breton into Melusine. The constructions of Joseph Cornell and the fashionings by Man Ray meet in a space determined by the architecture of Frangois de Nomi, Robert Desnos, and Antonin Artaud, pointed at by Marcel Duchamp in his crossings not just with Rrose but with Ludwig Wittgenstein. The game of the Exquisite Corpse has it own erotic charge, and the Baroque "vanitas" casts its shadow over everything from Cornell's Shadow Boxes to the game of chance. It all ends with two of Picasso's pipes, one by a skull and one in a frame play--signaling, perhaps, that Surrealism looks the way it looks and speaks the Baroque language it speaks because whoever is looking frames it that way.
Surrealist Women displays the range and significance of women's contributions to surrealism. Penelope Rosemont, affiliated with the Paris Surrealist Group in the 1960s and now a Chicago poet and painter, has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the origins of the movement.The texts are organised into historical periods ranging from the 1920s to the present, with introductions describing trends in the movement for each period; and each surrealist's work is prefaced by a brief biographical statement. Authors include El Allailly, Bruna, Cunard, Carrington, Cesaire, Gauthier, Giovanna, van Hirtum, Kahlo, Levy, Mansour, Mitrani, Pailthorpe, Joyce Peters, Rahon, Svankmajerova, Taub, Zangana>
An interrogation of the notion of space in Surrealist theory and philosophy, this study analyzes the manifestations of space in the paintings and writings done in the framework of the Surrealist Movement. Haim Finkelstein introduces the 'screen' as an important spatial paradigm that clarifies and extends the understanding of Surrealism as it unfolds in the 1920s, exploring the screen and layered depth as fundamental structuring principles associated with the representation of the mental space and of the internal processes that eventually came to be linked with the Surrealist concept of psychic automatism. Extending the discussion of the concepts at stake for Surrealist visual art into the context of film, literature and criticism, this study sheds new light on the way 'film thinking' permeates Surrealist thought and aesthetics. In early chapters, Finkelstein looks at the concept of the screen as emblematic of a strand of spatial apprehension that informs the work of young writers in the 1920s, such as Robert Desnos and Louis Aragon. He goes on to explore the way the spatial character of the serial films of Louis Feuillade intimated to the Surrealists a related mode of vision, associated with perception of the mystery and the Marvelous lurking behind the surfaces of quotidian reality. The dialectics informing Surrealist thought with regard to the surfaces of the real (with walls, doors and windows as controlling images), are shown to be at the basis of Andr?reton's notion of the picture as a window. Contrary to the traditional sense of this metaphor, Breton's 'window' is informed by the screen paradigm, with its surface serving as a locus of a dialectics of transparency and opacity, permeability and reflectivity. The main aesthetic and conceptual issues that come up in the consideration of Breton's window metaphor lay the groundwork for an analysis of the work of Giorgio de Chirico, Ren?agritte, Max Ernst, Andr?asson, and Joan Mir?he concluding chapter consi
This startling early autobiography takes Dalí through his late 30s and "communicates the...total picture of himself (Dalí) sets out to portray" — Books. Superbly illustrated with over 80 photographs and scores of drawings.
A portrait of the Surrealist movement in art and literature.
Emerging from the disruption of the First World War, surrealism confronted the resulting ‘crisis of consciousness’ in a way that was arguably more profound than any other cultural movement of the time. The past few decades have seen an expansion of interest in surrealist writers, whose contribution to the history of ideas in the twentieth-century is only now being recognised. Surrealism: Key Concepts is the first book in English to present an overview of surrealism through the central ideas motivating the popular movement. An international team of contributors provide an accessible examination of the key concepts, emphasising their relevance to current debates in social and cultural theory. This book will be an invaluable guide for students studying a range of disciplines, including Philosophy, Anthropology, Sociology and Cultural Studies, and anyone who wishes to engage critically with surrealism for the first time. Contributors: Dawn Ades, Joyce Cheng, Jonathan P. Eburne, Krzysztof Fijalkowski, Guy Girard, Raihan Kadri, Michael Löwy, Jean-Michel Rabaté, Michael Richardson, Donna Roberts, Bertrand Schmitt, Georges Sebbag, Raymond Spiteri, and Michael Stone-Richards.
This work reflects the search for proof of the existence of a mind that may be accurately called surrealist. Concentrating on painting and poetry, it shows how the surrealists envisaged, reacted to, and practiced art as a creative activity.
"This second issue of Hydrolith is a continuation of what the first volume started, which was and is to assemble a stimulating selection of exclusively recent work by groups and individuals of the international Surrealist movement, to facilitate intellectual exchange and collaboration, enabling us to concentrate the echoes of our commonalities as well as the shadows of our differences. In so doing, this volume aspires to reduce all manner of distances that exist between us. All works in this book are in English, while many of them are translations from the Dutch, French, Greek, Portuguese, Romanian, Spanish and Turkish languages." (From the Preface, p. 7)
"A study of the theme of ghostliness in surrealist work from the 1920s to 1990s"--
The very best of James Thurber's hilarious short stories and essays, to tie-in with the major new film starring Ben Stiller and Kristen Wiig. Walter Mitty is an ordinary man living an ordinary life. But he has dreams - vivid, extraordinary day dreams - in which the life he leads is one of excitement and even adventure, in which he - a weary, put upon middle-aged man - is the hero of his own story. A man can dream, can't he? The Secret Life of Walter Mitty is just one of the brilliant humorous and witty stories written by James Thurber and collected here. James Thurber was born in 1894 at Columbus, Ohio, where, as he once said, so many awful things happened to him. After university (Ohio State) he worked at the American Embassy in Paris from 1918 to 1920, and then turned to journalism. From 1927 onwards he was on the staff of the New Yorker, and first published much of his work in it. He died in New York in 1961, and is today recognised as one of America's greatest twentieth-century humourists.
A new evaluation of a writer who was the talk of the literary world in the early days of the sexual revolution.