Relevant bibliographies by topics / Surrealism Art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Surrealism Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Surrealism Art"

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Huo, Dan, and Fan Yang. "Application of Western Surrealistic in Design of Landscape Architecture." Applied Mechanics and Materials 226-228 (November 2012): 2394–97. http://dx.doi.org/10.4028/www.scientific.net/amm.226-228.2394.

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Surrealism was the twentieth century’s longest lasting art movement in the arts. It explored the mysterious dream world of the unconscious mind. Surrealist works depict a familiar yet alien world of dreamlike serenity and nightmarish fantasy, and their legacy pervades much of contemporary art, literature, film and popular culture. As a representation of irrational aesthetics in the modern art trends, it is worthwhile to study the influence and construction of Surrealism in modern landscape architecture. This paper explores the modern landscape form under the influence of Surrealism Art by analyzing and investigating the intrinsic relationship between Surrealist Art and the modern landscape architecture. Besides that, this paper described the connection between surreal spirit and Chinese landscape architecture design term metaphor of “presence”.
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GIULIODORI, Lucio, Aisana BOLDYREVA, Anna BOBUNOVA, and Vladislav BORANENKOV. "Surrealism Between Psychological Investigation And Artistic Commitment." WISDOM 14, no. 1 (March 24, 2020): 167–74. http://dx.doi.org/10.24234/wisdom.v14i1.306.

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Deciphering the mysteries of the unconscious was one of the central aims of Surrealists who, in order to achieve this goal, experimented with the most different techniques. The unconscious, displaying the contents that then can be painted, turned to be both a way to embark on an inner exploration and a source of creativity. My paper firstly sheds light onto this marriage of art and psychology which, in Surrealism, harmoniously blended generating a fascinating and fruitful combination between creation and self-creation - art as a tool of self-knowledge and even inner evolution is one of the main consequences. Lastly this study examines the surrealist scene today, considering how and why, through the decades, the painters’ aims changed and why we should or shouldn’t still call them “Surrealists”.
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Parkinson, Gavin. "Surrealism and Quantum Mechanics: Dispersal and Fragmentation in Art, Life, and Physics." Science in Context 17, no. 4 (December 2004): 557–77. http://dx.doi.org/10.1017/s0269889704000262.

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ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.

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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.

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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle of “encounter of images”, surreality. He used experimental techniques (negative print, solarization, photomontage) and aimed to demonstrate the limitless creative possibilities of photography as well as the Surrealists. Uelsmann appealed to archetypal images which provided his works by intellectual simplicity and external showiness that contributed to the popularity of his photomontages and their strong influence on the development of contemporary manipulative photography. Uelsmann set a kind of “standard” for photo-Surrealism of the late 20th–21st centuries: these are technically perfect photomontages that require a high level of professional skills and time expenditure. Many of Jerry Uelsmann’s motives and ideas found parallels in contemporary digital photography. Among their common features it’s possible to single out concentration on the inner world of the person, interest in archetypes and symbols, the desire to poeticize nature, and the introduction of elements of mass culture into hybrid images.
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Emrali, Refa. "Surrealist inheritance in drawing." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 143–48. http://dx.doi.org/10.18844/prosoc.v2i1.291.

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Sequential movements in history of art have led to revolutions during the times they originated. Thereafter, they maintained their existence in work of art with their indications. These heritages artists have acquired take them away from their pasts, bring them to present, and at this very point where past and present intersect, enable them to view future. Drawing is the origin of creative practice in all plastic arts, from painting to architecture. Artistic contemplation begins with nature we are part of and a familiar object close by. Examining entity and life-drawing teaches us how to observe. Identifying and contrasting objects are only complete with mathematical discipline, coordination of eyes and hands, and finally with a self-styled line of plastics. In the present paper, drawing is explained in relation to the influence of surrealism. To this end, quotations of portray able examples of our memories’ and dreams’ nonvisible worlds, rather than drawings of entities confined in their external appearances, are given. Line, emerging from imitating the visible, has responded to the messages of the unconscious. This paper examines the drawings of three surrealist artists, namely, Alberto Giacometti, Paul Klee, and Réne Magritte. According to surrealists, the unconscious does not aim solely for the creativity of meaningless facts, yet, it establishes a relationship between facts and objects in human contemplation. In this context, surrealist creation is a rich synthesis for drawing. Today, surrealist aspects can be seen in many drawings. Surrealism will continue to update itself and influence artists’ imagination post its time.Keywords: Drawing, surrealism, dream, nature
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Bracken, Patrick. "Psychiatry and Surrealism." Bulletin of the Royal College of Psychiatrists 10, no. 4 (April 1986): 80–81. http://dx.doi.org/10.1192/pb.10.4.80.

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A recent edition of the Bulletin contained a letter which was originally published in La Révolution Surréaliste 60 years ago. The letter was probably written by André Breton and was basically an attack on psychiatry as then practised in France and in particular on the process of involuntary admission. The letter appeared in the Bulletin under the title ‘An Historical Vignette: Surrealism and Anti-Psychiatry’. While there can be little doubt that the surrealists were antagonistic to psychiatry I would like to argue that a great deal of their work is of potential interest to psychiatrists. The surrealist movement was opposed to any form of rationalism. It was opposed to anything which could possibly limit the imagination and this was the source of its conflict with psychiatry. But surrealist art and literature was essentially an exploration of the bizarre, the irrational and the unconscious and these are subjects which are, of necessity, of importance to the psychiatrist and the psychotherapist.
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Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (June 30, 2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.
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Alnazarova, G. "Revisiting Correlations between Real and Imaginary in Space of Surrealism." Bulletin of the Innovative University of Eurasia 82, no. 2 (June 24, 2021): 9–14. http://dx.doi.org/10.37788/2021-2/9-14.

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Main problem: this article deals with the research of surrealism which is not just one of ordinal modernism directions or one of many isms in the art of the 20th century, but which appears as a universal phenomenon in the culture of the epoch, reflecting its main features; surrealism has risen many issues substantive for culture modernity, and resolutions of which are worthy in-depth study. Purpose: to determine the meaning of the unconscious when building a surrealistic world picture and show the relationship and interinfluence of the arts and reality, real and imaginary within the frames defined by surrealism. Methods: the study is based on philosophical and art review of literary and art works performed by surrealists. In various manifestos and works made by surrealism figures it is traced the intention to penetrate into the depth of human psycho using dreams and different mental illnesses. It is known about the enormous impact that the discoveries made in the field of psychoanalysis had on the development of Surrealist philosophy. So, the method of free associations was popular, which was actively used by the Austrian scientist Z. Freud in his medical practice, talking with the patient and analyzing his dreams, the doctor with the help of key symbols revealed the cause of the neurosis, and the surrealists were attracted by the research of the Swiss psychiatrist C. Jung, devoted to the analysis of archetypes and symbols in the lives of various peoples. Results and their importance: practical significance of the study is related to the following circumstances: the necessity to make sense for the reasons of the crisis which encompasses the culture today, the search of possibilities and ways to recover it; u this work’s materials can be also used in research of creations of young Kazakhstan avant-garde artists. The research materials can also be used in the practice of teaching philosophy, cultural science, psychology, and other humanitarian disciplines and also in work of fine art experts and museum staff; based on the materials of this research, the special courses on culture philosophy, culturology, esthetics and theory of arts can be developed.
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Pradivlianna, Liudmyla. "DREAM AND REALITY IN THE POETRY OF DAVID GASCOIGNE (LINGUISTIC ANALYSIS OF THE POEM AND THE SEVENTH DREAM IS THE DREAM OF ISIS)." Odessa Linguistic Journal, no. 12 (2018): 32–38. http://dx.doi.org/10.32837/2312-3192/12/5.

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Surrealism, the XX century literature and art movement, inspired an impressive number of scientific research regarding different aspects of the phenomenon. This paper studies surrealism as a type of artistic thinking which raised the role of the unconscious in poetry. It focuses on the core of surrealist aesthetics – an automatic image, which allowed the poets to study human irrational states, such as dreams. Focusing on the themes of dreams and dream-like narrations, surrealists created poetry which was formed by specific images. An automatic image coming directly from one’s unconscious mind was expected to reveal new knowledge about the world and people. But as the poet ’functions’ only as a conductor of the unconscious images, it is the reader who has to create meanings in this kind of poetry.The paper regards surrealism in terms of a lingvo-poetic experiment and analyzes the linguistic characteristics of the automatic texts in the early poetic collection of David Gascoyne (1916–2001). It outlines the peculiarities of the British poet’s techniques which are built upon French surrealist concepts and theories and examines phonetic, semantic and syntactic aspects of his poetry. David Gascoyne’s lyrics demonstrates the poet’s commitment to the French version of surrealism, his interest in the unconscious and dream-like narration. The streams of arbitrary visual images, deep emotionality, the artistic use of the word, semantic increments of meaning make Gascoigne’s texts open to interpretation. And though the poet actually refers visual effects (we rather see dreams), specific dream-like patterns are created not only by lexical, but also by phonetic repetitions, via intonation in which lexemes acquire a new semantic load.
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Dissertations / Theses on the topic "Surrealism Art"

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Morrison, John J. "Pop surrealism." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265089.

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The objective of this creative project was to see if Pop Surrealism appeals to a larger cross-section of culture and could be integrated into the fine arts. This study involved creating a series of drawings utilizing a wide range of optical and thematic devices to expand my visual vocabulary. The evidence suggests that the visual knowledge of our culture has expanded through mass media. In the 1800's, Stendhal Syndrome affected a cross-section of America. The illness was incurred by overexposure of visual stimuli resulting with the victim vomiting and passing out. The people's adaptation has lessened the syndrome to almost nonexistence. Pop Surrealism is the amalgamation of Pop Art, Surrealism, and cartoons. The drawings were an exploration of visual and technical applications. The study also included a search for the history and acceptance of techniques and media.
Department of Art
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Stone-Richards, M. "The conception of embodiment in French Surrealist art : with reference also to Czech Surrealism 1919-1939." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361395.

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Puentes, Kalid. "Introducing neo-surrealism : the social science of performance art." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/17144.

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This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.
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Wolfe-Alegria, Eduardo. "Meta/Physicals: Surrealism, spirituality and figuration in contemporary art." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13634.

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In the following thesis entitled Meta/Physicals: Surrealism, spirituality and figuration in contemporary art, I focus on an interpretation of spirituality ultimately separate to religion, that encompasses notions of a vital force underpinning existence, which acknowledges the innate connectedness of all “things,” and which is open to notions of the paranormal, aiming to discuss this interpretation of spirituality, in relation to contemporary art and in particular to figurative contemporary art. In the first chapter, I address a number of ways in which contemporary art and art discourses relate to the spiritual with emphasis on those of the sublime and Jane Bennett’s New Materialism. In chapter two, I discuss a spiritual interpretation of both Surrealism and Critical Surrealism identifying them as appropriate discourses through which to address contemporary figurative-spiritual artworks when discussed in conjunction with New Materialism and the sublime. In chapter three, I explore the work of a number of contemporary artists whose work can be discussed through this interpretive “triangle”, and in chapter four, I discuss my own work and practice through this framework, relating it to the artists discussed in the previous chapter, asserting that through my practice and research I have identified appropriate discourses through which to discuss spirituality and figurative contemporary art together. The creative work generated in relation to this research is a large scale watercolour and ink painted quadriptych, approximately 430 cm by 240 cm, to be exhibited in the Sydney College of the Arts Post-Graduate Exhibition in December 2014. The painting will be floated off the free-standing wall in section D3 of the SCA galleries. The painting depicts an underwater environment, part ocean part cosmos, in which animals, humans, plants, bones and shells, coalesce and disperse in a kind of murky underwater mélange. In this work, the ocean serves as a metaphorical underpinning with its manifold connotations of creation, destruction and rebirth, setting the stage for a contemporary myth, which at its core celebrates our inert connectedness, cycles of life and death, and the overwhelmingly abundant vitality that flows through us all.
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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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Eddy, Rebecca L. "A quest for art." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1185.

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Thesis (M.F.A.)--West Virginia University, 1999.
Title from document title page. Document formatted into pages; contains iii, 22 p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Coombs, Neil. "The communicating village : Humphrey Jennings and surrealism." Thesis, Liverpool John Moores University, 2014. http://researchonline.ljmu.ac.uk/4326/.

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This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). These explorations allow an examination of the way that Jennings’s films articulate the relationship between surrealism and the everyday, the sublime and the uncanny. The thesis asserts that there is a specifically British form of surrealism that has developed from the historical situation of Britain in the period from 1936 to 1946, one that draws from the national identity of Britain. The symbolic domain of British surrealism and its praxis can read in the films of Jennings and the auratic traces of Jennings’s films thread through the work of subsequent filmmakers. This thesis describes these traces as the communicating village. The thesis’s consideration of Jennings’s films in relation to surrealism offers a means by which to examine the work of subsequent filmmakers and to assess the importance of surrealism to British cinema.
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Virava, Thiago Gil de Oliveira. "Uma brecha para o surrealismo : percepções do movimento surrealista no Brasil entre as décadas de 1920 e 1940." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-14112012-223853/.

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O objetivo deste trabalho é avaliar os diversos modos pelos quais o movimento surrealista foi percebido por artistas e escritores modernistas, entre as décadas de 1920 e 1940. Parte-se inicialmente da apresentação e discussão de documentos e bibliografia a respeito do discurso surrealista sobre arte e sua importância no contexto do movimento. Em seguida, com base em uma seleção de obras de artistas nacionais (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima e Flávio de Carvalho), assim como de um conjunto de documentos (artigos, cartas, manifestos) produzidos no Brasil no período abordado, são analisadas as aproximações e distanciamentos entre os movimentos brasileiro e francês. Procurando evitar tanto um cotejamento mecânico, quanto a rotulação das obras analisadas como \"surrealistas\", empreende-se essa análise sem deixar de se discutir a inserção de cada artista no contexto dos debates artísticos e intelectuais nacionais do período. A partir dessa perspectiva metodológica, é possível observar como o eventual interesse de cada um pelo surrealismo surge mediado por outros, ligados àqueles debates. Desse modo, busca-se salientar a singularidade desse interesse e da forma objetiva que assumiu na produção de cada artista.
This work intends to survey the different ways by which the surrealist movement was perceived by Brazilian modernist artists and writers, between the 1920s and 1940s. It starts with a presentation and discussion of documents and bibliography about the surrealist discourse on art and its relevance in the context of the movement. Afterwards, based on a selection of works by five Brazilian artists (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima and Flávio de Carvalho) together with a set of documents (articles, letters, manifestoes) produced in Brazil during the period studied, it analyses the approaches and detachments between the Brazilian and French movements. In order to avoid either a simplistic confrontation or labeling the works discussed \"surrealists\", the analysis is made without putting aside a discussion about the insertion of each artist in the context of artistic and intellectual local debates in the period. From this methodological perspective, it is possible to observe how the potential interest in the surrealism expressed by each artist appears mediated by other interests, affined to those debates. Thereby it underlines the singularity of that interest and the objective form it has assumed in the production of each artist
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Laterza, Lucia. "The Presence of Words in Visual Art from Surrealism to Conceptualism." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7377/.

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Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself. About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements. Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.
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Scowcroft, Ronald. "Hidden codes and honest fictions : art, image and perspectivism in the works of J.G. Ballard." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337358.

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Books on the topic "Surrealism Art"

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Silvano, Levy, ed. Surrealism: Surrealist visuality. Edinburgh: Keele University Press, 1997.

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Silvano, Levy, ed. Surrealism: Surrealist visuality. Keele: Keele University Press, 1996.

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Claybourne, Anna. Surrealism. Chicago, Il: Heinemann Library, 2008.

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Marcovitz, Hal. Surrealism. Detroit: Lucent Books, 2008.

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Centre, Retretti Art, ed. Surrealismi = Surrealism: Taidekeskus Retretti = Retretti Art Centre, 16.5.-13.9.1987. [Helsinki]: Retretti Art Centre, 1987.

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Remy, Michel. Surrealism in Britain. Aldershot, Hants, England: Ashgate, 1999.

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Isabelle, Dervaux, National Academy of Design (U.S.), and Phoenix Art Museum, eds. Surrealism USA. Ostfildern-Ruit: Hatje Cantz, 2005.

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Dražić, Dušica. Surrealism of simplicity. Belgrade: DEZ ORG, 2011.

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A, Riley Charles, Bogzaran Fariba 1958-, and Nassau County Museum of Art, eds. Surrealism: Dreams on canvas. Roslyn Harbor, NY: Nassau County Museum of Art, 2007.

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Mau, Bartolmeu. When art becomes liberty: The Egyptian surrealists. Korea: National Museum of Modern and Contemporary Art, 2017.

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Book chapters on the topic "Surrealism Art"

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Wade, Nicholas. "Surrealism." In Art and Illusionists, 103–17. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25229-2_6.

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Highmore, Ben. "Itinerant Surrealism." In A Companion to British Art, 241–64. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch11.

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Sinclair, Vanessa. "Surrealism/Acéphale." In Scansion in Psychoanalysis and Art, 115–32. Abingdon, Oxon; New York, NY: Routledge, 2021. |Series: Art, creativity, and psychoanalysis: Routledge, 2020. http://dx.doi.org/10.4324/9781003099147-11.

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Blagrove, Mark, and Julia Lockheart. "Dreaming, films and Surrealism." In The Science and Art of Dreaming, 186–203. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003037552-16.

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Adcock, Craig. "Surrealist Resonances in Contemporary Art." In The Routledge Companion to Surrealism, 387–93. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003139652-55.

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García, María Amalia. "Informalism between Surrealism and Concrete Art." In New Geographies of Abstract Art in Postwar Latin America, 11–24. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-2.

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Jung, Soyoung, Frank Biocca, and Daeun Lee. "Effect of 3D Projection Mapping Art: Digital Surrealism." In Lecture Notes in Computer Science, 361–67. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21067-4_37.

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Montanaro, Lee Ann, and Alberto Stefana. "The relationship between psychoanalysis and art." In Surrealism and Psychoanalysis in Grace Pailthorpe's Life and Work, 32–37. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003427032-7.

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Lloyd, Declan. "J. G. Ballard, Surrealism and the Curation of Catastrophe." In Authors and Art Movements of the Twentieth Century, 100–146. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003342564-4.

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Dillon, Lorna. "Surrealism, Pop Art and Modern Aesthetics in Violeta Parra’s Papier-Mâché Sculptures, Paintings and Embroideries." In Violeta Parra’s Visual Art, 81–114. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_3.

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Conference papers on the topic "Surrealism Art"

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Lukebanova, I. A., and O. A. Zimina. "SURREALISM IN DESIGN AND ART." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.8.

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Prudente, Aline Barbosa da Cruz. "O Surrealismo e as mulheres: uma análise através da moda." In Encontro de História da Arte. Universidade Estadual de Campinas, 2017. http://dx.doi.org/10.20396/eha.12.2017.4617.

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O surrealismo, inicialmente um movimento literário, nasce com a publicação do primeiro manifesto surrealista em 1924 escrito por André Breton (1896 – 1966). Nesta obra, o autor propõe uma busca pela o automatismo psíquico puro para exprimir o funcionamento real do pensamento, seja pela forma escrita, ou de qualquer outra maneira, incentivando o uso desinteressado do pensamento e dos sonhos.
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Santini, Kethlen. "Depois do Surrealismo, só a antropofagia." In Encontro da História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4279.

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Em dezembro de 1924, aparecia La Revolution Surréaliste, a primeira revista do movimento Surrealista. Organizada por André Breton (1896 - 1966), tinha como objetivo lutar contra a alienação da sociedade, estabelecendo uma “nova declaração dos direitos do homem” e contrariando os valores decaídos ou ultrapassados - estes baseados nos faróis do movimento: “a poesia, o amor e a liberdade”. Por outro lado, também em 1924, o grupo modernista de São Paulo, destacando-se Oswald de Andrade (1890 - 1954) - um dos principais líderes do Modernismo brasileiro - lançou um manifesto e um livro de poemas, ambos denominados Pau-Brasil. Segundo Valentim Facioli - na obra organizada por Robert Ponge, Surrealismo e o Novo Mundo (1999) - a obra era um conjunto de poemas de linhagem primitivista, satíricos e humorísticos, tendo como intenção demolir com a herança ainda dominante do nacionalismo conservador e ufanista. Essa nova corrente é contraposta, no ano seguinte, por um movimento nacionalista e conservador liderado por ex-companheiros de Oswald de Andrade. O grupo denominava-se Verde-Amarelismo e era contrário ao Pau-Brasil, tendo como finalidade combatê-lo, pois viu nele aproximações não só com o Dadaísmo e o Surrealismo, mas também, segundo Robert Ponge, porque seria o produto de ideologias exóticas e forasteiras (PONGE, 1999).
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Liang, Jianian, and Danlei Zou. "Aesthetic Embodiment of Surrealism in Modern Design." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.34.

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Bourgeois, Marie-Julie. "A [Potential] Cloud War Controversies and conflicts related to climate manipulations." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-5-short-bourgeois-a-potential-cloud-war.

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SHORT PAPER. The OuCliPo research project (Ouvroir de Climats Potentiels) is a workshop of climate potential, supported by the Labex LaSIPS, presented by Marie-Julie Bourgeois, PhD in Aesthetics, Science and Technology of the Arts, researcher in art and design science at University Paris-Saclay. This project is also directed by Jules-Rémi Bois-Rouge, a (fake) climate geo-engineer, Doctor at the LaPataFlu, a (fake) Laboratory of Fluid Pataphysics, stemming from the modern surrealist literary movements, proposes a "science of imaginary solutions which symbolically grants to lineaments the properties of objects described by their virtuality." OuCliPo studies surrealist issues to climate problems; pseudo-scientific solutions and their implementation in the context of eco-anxiety. The project highlights the ethical and geopolitical dimensions of solar geo-engineering, as well as the socio-cultural issues associated with these climate experiments as techno-solutionism.
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Hidayat, Raisya, and Jordi Piera. "Surrealist Aesthetics in Sensory Actuated Spatial Systems." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.072.

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Marinho, Fernanda. "Primitivos e selvagens: Lionello Venturi e o surrealismo." In Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4130.

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Entre a proposta historiográfica de Lionello Venturi e a proposta artística do surrealismo francês interessa-nos nesta comunicação seus similares aspectos vertiginosos. Vertigens essas relativas às respectivas perspectivas antievolucionistas que estimularam uma nova metodologia e sensibilidade à história da arte.
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Aji, Arif Dwi Kurnia, and Kasiyan. "Social Criticism in Muhklis Lugis’ Surrealism on His Work on Siri Culture." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.052.

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Anderson, Ross James. "All of Paris, Darkly: Le Corbusier’s Beistegui Apartment, 1929-1931." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.928.

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Abstract: This paper, All of Paris, Darkly, presents a focused study of Le Corbusier’s enigmatic Beistegui Apartment (1929- 1931) on the Champs-Elysée in Paris, with particular reference to the curious camera obscura periscope that was housed in a small lozenge-shaped pavilion on its rooftop. There are manifold reasons for the charisma of the apartment; from the flamboyant eccentricities of the client and his exchanges with the architect, to the exceptional location of apartment in the centre of Paris, to the apparent repudiation of some of Le Corbusier’s more strident proclamations on architecture and the city, to the historical conditions that have for all time occluded a definitive scholarly reading of the architectural production and subsequent inhabitation of the apartment. Grounded in an understanding of the primal visual phenomenon of the camera obscura, the paper advances an interpretation of the meaning of the periscope apparatus amidst the battery of unusual contrivances that animated the surrealist penthouse apartment. It further seeks to contribute to a greater understanding of some aspects of Le Corbusier’s thinking on architecture and the city. Keywords: Le Corbusier; Charles de Beistegui; camera obscura; uncanny; Surrealism. DOI: http://dx.doi.org/10.4995/LC2015.2015.928
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Virava, Thiago Gil de Oliveira. "Surrealismo e modernismo: experiências surrealistas na arte brasileira 1920-1940." In Encontro da História da Arte. Universidade Estadual de Campinas, 2010. http://dx.doi.org/10.20396/eha.6.2010.3896.

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O que proponho com este texto é apresentar um panorama das experiências surrealistas realizadas no Brasil, do final dos anos 1920 ao início dos anos 1940, visando sugerir em que direções pode se encaminhar uma pesquisa sobre a repercussão do surrealismo no Brasil modernista. No âmbito das artes visuais, os nomes e as obras variam muito pouco, de modo que é possível afirmar que, nos últimos anos, tem se configurado um consenso sobre o que houve de surrealismo no modernismo brasileiro. Refiro-me fundamentalmente a textos de Robert Ponge, Valentim Facioli, Sérgio Lima, Floriano Martins e Jorge Schwartz. Apresentar uma síntese do que foi levantado por esses autores pode parecer proposta ociosa, mas parto aqui do princípio de que a historiografia oficial e o ensino da arte na universidade ainda ignoram essas experiências surrealistas no Modernismo ou tendem a considerá-las apenas como casualidade, sem examinar com profundidade sua singularidade ou extrair alguma hipótese sobre o modo como os modernistas encaravam as vanguardas européias.
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Reports on the topic "Surrealism Art"

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.
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Graphics from Latin America and the Caribbean: January 18th - March 9th, 2002. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005918.

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43 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by 40 artists from the Americas were presented at the Riverside Art Museum, Riverside, California. On loan from the IDB Cultural Center; the artistic holdings serve to promote understanding of the cultural heritage of its member countries. Included in the exhibit are graphics by important 20th century Mexican muralists José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros; the surrealist Roberto Sebastián Matta; Carlos Mérida and others.
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