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Journal articles on the topic 'Surrealism Art'
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1
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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Bou, Enric. "Fragmentary writing in J.V. Foix’s surrealist criticism and poetry." Journal of Romance Studies 23, no. 4 (December 2023): 487–509. http://dx.doi.org/10.3828/jrs.2023.22.
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This article addresses a little-known episode in the surrealist movement: the adventurous (if not hindered) integration of surrealism into Iberian literature and art, particularly J.V. Foix’s intervention through critical (in La Publicitat ) and poetical writing ( Gertrudis , 1927, and KRTU , 1932), and his collaboration with Salvador Dalí and Joan Miró. Foix accomplished the dynamic process of transforming and reconfiguring the meaning and function of surrealist aesthetics in Catalonia in a complex network and context. Reading Foix not only as a philological issue, but also against an international background, and from the fragmentary writing perspective, will enrich traditional approaches and provide an insight into Catalan surrealism.
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Hansen, Catherine. "Surrealism Is a Thing: Rubrics and Objectivation in the Surrealist Periodical, 1924–2015." ARTMargins 5, no. 3 (October 2016): 62–81. http://dx.doi.org/10.1162/artm_a_00158.
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What links the existing international surrealist movement—a network of groups who publish their essays and collective experiments in an array of print and online periodicals—to the 20th-century Surrealism of art history textbooks is, to a large extent, its periodical publishing practices. This article pays particular attention to the periodical rubric (defined as a heading or category under which a certain kind of text or image serially appears) and contextualizes its surrealist use within a broader poetics of “objectivation.” In Surrealism, objectivation is the creation of a “thing,” which is to say a form of doing or thinking that acquires a name and locus around which a social collectivity can coalesce. The article explores this process as it becomes manifest in the various rubrics used in surrealist periodicals past and present.
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Fiedosieiev, Nikita. "Manifesto of Surrealism: Common and Opposite in the Established Genre." Ethnic History of European Nations, no. 71 (2023): 78–84. http://dx.doi.org/10.17721/2518-1270.2023.71.11.
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The purpose of this publication is to systematize and generalize information about the Manifesto of Surrealism in the context of finding various factors of influence on the specified modernist direction of culture and art. Leaders of surrealism and researchers of this trend emphasized that it is not only about the methods of creating works and the form of their living, but also about the picture of the world and the type of mentality. In «The First Manifesto of Surrealism» (1924), rational thinking is rejected in favor of dreams, the aimless play of imagination and mental automatism uncontrolled by consciousness. «The Second Manifesto of Surrealism» (1929) proclaims the need to overcome the absurd distinction of supposed opposites (beautiful and ugly, true and false, etc.) to which civilizations and societies that care about the perpetuation of violence are so devoted. The early «sacred texts» of Surrealism caused a chain reaction that spread throughout the Western world within a decade and a half. When Surrealism was born, it was more than just an artistic movement. Surrealism is poetry, painting, and worldview, social and political movement. Surrealism arose in difficult conditions, at the turn of the 19th and 20th centuries, when the spiritual crisis of European civilization was evident. One of the most important founders of surrealism is A. Breton, a French writer and poet. Surrealists were looking for a base, a foundation on which they could build the temple of their worldview. One of these foundations is the philosophy of the French thinker A. Bergson, who claimed that the mind is unable to grasp the true nature of phenomena, but only intuition is able to look at a thing and see its true being. According to A. Bergson, reality is perceived not through logical forms, but through the forms of pure «individual vision». When an artist learns the world through «inner contemplation», his art inevitably departs from logically objective reality. The act of creation thus acquires an irrational, mystical character. A dualism of intuition and intellect appears which is inherent in logical thinking.
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Garcia, Erika Natalia Molina. "Tonnerre et bourdonnement. Pour une littérature musicale : le cas du surréalisme." Cahiers ERTA, no. 26 (2021): 59–83. http://dx.doi.org/10.4467/23538953ce.21.027.13999.
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Thunder and whir. For a musical literature: The case of surrealism By exploring Deleuze’s theory of the creative act, I suggest in the first part of this article that all art forms can achieve a generalized musicality. This musicality denotes a region of perception that goes beyond ordinary senses, with which we can come into contact either by creating or by witnessing art. In the second part, I illustrate the possibility that this doctrine opens for a musical literature, i.e. a literature able to achieve the generalized musicality, with some fragments of surrealist literature. I conclude with the idea that the doctrine at hand could constitute an evolution and a radicalization of surrealist aesthetics.
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Prokudin, Gleb Andreevich. "Afro-surrealism in screen arts as an experience of the Otherworldly." Культура и искусство, no. 4 (April 2024): 103–15. http://dx.doi.org/10.7256/2454-0625.2024.4.70370.
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This article is a study of such an original trend in art as "Afro-surrealism". The study contains an excursion into the history of this phenomenon, but special attention is paid to the special connection of the genre of Afro-surrealism with the realm of the otherworldly. The genre, being an offshoot of the general group of surrealist trends, tends to create images that cross the line of rational reality, in other words, Afro-surrealist works by their nature strive for knowledge of the otherworldly. Nevertheless, Afro-surrealism contains unique structural elements and techniques that make it possible to separate it from classical surrealism and make it a rich material for research. The purpose of the article is to examine the history of the genre, as well as some works in the genre of Afro–surrealism and, using their example, based on the "Manifesto of Afro-Surrealism" to identify special elements of language and demonstrate how they help to reveal the otherworldly reality of the work. The main research method in this article is a systematic film analysis. The special structural elements of the film language and their role in the isolation of the genre are the focus of the research. The results of the study can be considered the very fact of highlighting a cultural phenomenon, since this genre is quite young and unique for a group of authors belonging to the same cultural group. In this regard, the phenomenon is practically unknown and extremely poorly studied in the Russian-language scientific literature. In addition to analyzing the historical and theoretical foundations of the genre, this article identifies special elements of the language of works, thanks to which the view of the problem of the otherworldly acquires a special philosophical depth, turning into a question about the limits of knowledge and mystical experience. The article analyzes in detail some of the images created by the authors of the series "Atlanta", and also draws a parallel between this series and David Lynch's older surrealist work "Twin Peaks", which allows us to more specifically draw a line separating "classic" surrealism from Afro-surrealism.
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Andreev, Artem A. "Surreal and futuristic trends in parascientific works." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 143–51. http://dx.doi.org/10.37816/2073-9567-2021-62-143-151.
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The simultaneous existence of traditional and nontraditional trends in culture inevitably leads them to creative interaction. A case in point are such popular trends in the culture of the 20th and 21st centuries as surrealism, futurism, neo-surrealism, neo-futurism and parascientific creativity. A comparative analysis of these directions has shown that artistic activity in art is often manifested in a creative relationship of traditional and nontraditional cultural trends. It turns out that parascientific creativity, as a nontraditional direction of culture, in its content and plot properties is close to the works of the French surrealists A. Breton, P. Eluard, T. Corbière and Russian futurists V. Mayakovsky and I. Ignatiev, as well as contemporary neo-surrealists and neo-futurists. The author comes to the conclusion that contemporary art, based on parascientific creativity, realizes its spiritual content in culture and brings to life its new creative ideas. Thus, contemporary art is in the process of development and the search for new creative foundations in culture. The postmodern culture also contributes to this trend. It aims at constant change, novelty and originality, thereby influencing contemporary art and bringing it closer to nontraditional cultural trends.
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Di Domenico, Giorgio. "Private Shrines: Domestic Experiences of Surrealism in Three Italian Interiors from the Early 1970s." International Journal of Surrealism 1, no. 2 (March 2024): 45–64. http://dx.doi.org/10.1353/ijs.2024.a922367.
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Abstract: The COVID-19 pandemic has highlighted the importance of private spaces. As a result, the link between Surrealism and domesticity has gained new relevance. In this essay, Di Domenico explores the impact of surrealist artworks exhibited inside collectors' homes focusing on three case studies: three Italian rooms from the early 1970s featuring artworks by Man Ray and René Magritte. Photographs of these rooms were featured in popular art and interior design magazines such as Domus, Casa Vogue , and BolaffiArte . By analyzing how surrealist artworks functioned within the bathroom of the Agnelli family, the "playroom" of actress Sophia Loren, and the bedroom of gallery owner Luciano Anselmino, the author examines the impact of surrealist works in domestic settings, the role of gender dynamics in the construction of personal identity through collecting, the reception of Surrealism in Italy, and its relationship with interior and product design. By delving into the biographies of the collectors, he offers insights into the role, function, and significance of the surrealist artworks they chose to display in their most intimate spaces: their private shrines.
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Ma, Xueyang. "Iconography Analysis--Symbolism in Joan Miró i Ferrà's Surreal Works." Frontiers in Humanities and Social Sciences 2, no. 6 (June 20, 2022): 54–58. http://dx.doi.org/10.54691/fhss.v2i6.893.
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Joan Miró (20 April1839 --25 December 1983), was a Spanish painter, sculptor, ceramicist, printmaker and representative figure of surrealism, is one of the surrealist painting masters in the 20th century who are as famous as Picasso and Dali. In 1924, Miró deeply felt the ideological influence of surrealism in Paris, and he always insisted on the creation of surrealism in his artistic creation career in his later life. In style, Joan Miróis different from Picasso in the same period and Dali in naturalism. Joan Miró said: 'I make no distinction between poetry and painting.'. In his works, it clearly reflects the combination of these two, and ensures the purity, childishness and symbolism of art. This paper starts from the reality, analyzes the poetic grace of the picture caused by the repetition of symbols in Miró's paintings, and focuses on the embodiment of childlike and symbolism in the paintings.
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Golia, Maria. "Surrealism and Photography in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Baetens, Jan, and Michael Kasper. "The Birth of Belgian Surrealism: Excerpts from Correspondance (1924-25)." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 452–67. http://dx.doi.org/10.1632/pmla.2013.128.2.452.
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Correspondance was a belgian surrealist magazine, from the earliest years of the movement, that can be read as a Challenge to the notions of surrealism promoted in André Breton's Manifesto of Surrealism of 1924. It was a self-published periodical comprising twenty-two one-page tracts, written and distributed over seven months in 1924 and 1925 by three francophone Belgian writers, Paul Nougé, Camille Goemans, and Marcel Lecomte. The most important of these was undoubtedly the one who published least: Nougé, the intellectual leader of the Brussels surrealist group. In addition to scattered publications of startling originality throughout the 1920s and 1930s, he was at that time also a key promoter of René Magritte's art; at weekly meetings of the group (whose members had day jobs and could only gather on Sunday), Magritte's latest paintings were discussed, and Nougé, mostly, proposed their enigmatic titles.
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Yan, Ruixin. "The Influence of Surrealism on Contemporary Design." International Journal of Education and Humanities 13, no. 1 (March 14, 2024): 116–19. http://dx.doi.org/10.54097/ybrqy687.
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With the continuous development of the art process, some artistic thoughts have left more and more profound marks in the art history. Surrealism focuses on the study of human subconsciousness, and uses anti-logic and anti-conventional irrational methods to create, which creates artistic creation ideas and broadens artists' design thinking. By analyzing the concept, characteristics and development process of surrealism, this paper aims to realize the anti-logic and unconsciousness of surrealism. At the same time, from the application research of surrealism in contemporary design, the influence of surrealism is further analyzed.
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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου." Σύγκριση 31 (December 28, 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.
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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a child who grows up.” This reception of myth should be situated in the context of the French surrealists’ endeavour to formulate a new collective mythology that would respond to the political and social environment of the interwar years. This collective mythology resorted to cultural topoi that were deemed countercultural, marginalised or anti-Enlightenment, ranging from primitive, prehistoric and Gothic art to magic, alchemy and mythological traditions of archaic or non-European cultures. In this framework, surrealist myth was reconfigured as a new poetic language in constant metamorphosis that could articulate through diverse media and cultural traditions the surrealist vision for the radical transformation of the world. In Greece the appropriations of classical myth were central to the modernist canon. However, the Greek surrealists transformed myth in subversive ways initiating a dialogue with the present in the light of anthropology, ethnography, history of religions and psychoanalysis. Recent research has shown that Embeirikos and Engonopoulos conversed with French Surrealism and their colleagues’ engagement with alternative epistemologies and comparative religion and mythology, participating to a fecund renegotiation of the past. This paper aims at contributing to the revision of the history of Surrealism in Greece by exploring the function of myth, both as intermedial language and discursive practice, in Engonopoulos’s work. Most specifically, it purports to investigate the poetic anthologies Do not Speak to the Driver (1938) and The Clavichords of Silence (1939) alongside visual works he created at the end of the 1930s, such as the drawing SO4H2 (1937), and the engraving Vierge inviolable, métaphysique et surréaliste-sonore (1930s). The subtitles given initially to the aforementioned anthologies allude to the comparison of the arts and the equation of poetry and painting in an alchemical fusion pursued by the historical avant-gardes and Surrealism. Engonopoulos’s work and his experimentations with image-making should be revisited within this context and seen as a paradigm of the formulation of a new myth that sought to interweave the visual arts, poetry and alternative epistemologies into a revolutionary, hybrid form of expression that could effect the individual and society.
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Kim, Huiteak. "A Study on Identity and Art in the Post-Human Discussion." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 359–71. http://dx.doi.org/10.33645/cnc.2022.9.44.9.359.
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The purpose of this paper is to examine the relationship between identity and art in the posthuman discussion. In particular, the discussion was developed under the assumption that surrealist thinking and digital media art had a major influence on the transition of human identity to posthuman. We dealt with semiotics and philosophical theories related to identity. What I noticed in this part is that human identity is formed through contact with others outside of oneself. In this paper, we put this other as a text and pay attention to the fact that the identity of a post-human is built through the detour of this text. In this regard, we have described Ricoeur's theories related to identity. In addition, the fact that human perception toward objects continues to fluctuate was examined through surrealism. Surrealism is a movement and a way of thinking that rejects fixed orders and ideas, and prevents identity from being hardened into ideas. The works of Nam June Paik and Stellac show one aspect of the posthuman world perception and identity expansion process.
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Rentzou, Effie. "Time Reclaimed: Old “Femmes-enfants”." International Journal of Surrealism 1, no. 1 (September 2023): 1–20. http://dx.doi.org/10.1353/ijs.2023.a908033.
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Abstract: In surrealism the “femme-enfant” was a persistent model for female subjectivity both as a representational construction in literature and art, and as a position embodied by women artists themselves. This article discusses the work of three surrealist writers, Gisèle Prassinos, Leonora Carrington, and Joyce Mansour, each of them labeled as a “femme-enfant” within surrealist cercles. All of them, however, channeled their subjectivity through the personae of old women while they were still very young, in an odd juxtaposition between their perceived, and restrictive, image as a woman-child and their projected future of old age. Opposed to the “femme-enfant” stuck in an ahistorical perpetual present, the old women in the texts discussed usher in a dynamic timeline and permit the authors to exercise control over their own subjectivity and voice, while they short-circuit present, past, and future. By imagining themselves as old, these women surrealists take charge of a process that cannot be controlled—aging, the passing of time—and they reclaim time while they reclaim their own agency.
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Ivlieva, Yuliia O. "POETICS OF COLLECTION “FREE HANDS” BY PAUL ELUARD AND MAN RAY." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 36–49. http://dx.doi.org/10.32342/2523-4463-2022-1-23-3.
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This article is part of a more detailed study of “pictopoetry” as a phenomenon, where we define its place in the genre system of surrealism on the example of Paul Eluard and Man Ray collection “Les Mains libres” (“Free Hands”). The activities of the surrealists expanded the artistic vision of the world to previously unknown boundaries. In particular, we observe these innovative achievements in the field of poetry, where A. Breton, W. Browner, P. Eluard and other representatives of this trend continued to search for new poetic intermediate forms, genre paradigms. The genre repertoire of surrealists is characterized by unusual diversity, exploratory nature and freedom from restrictions, and the short existence of new genres that did not mature in time, complicates the study of the genre system of this art direction, so it remains an unexplored field in literature. Forms and genres of poetry created within the framework of surrealism did not acquire a broad enough scientific understanding that would allow them to be systematized. Among contemporary French literary critics, more and more scientists turn to P. Eluard`s creative heritage, but some of them focus on the specifics of his collection “Free Hands”. In particular, in the few works of French scientists (S. Caron, J.-L. Benoit, M.F. Leudet, C. Leconte) considered only some aspects of the nature of the synthesis of graphic and textual components of the collection “Free Hands”, and the problem of P. Eluard and Man Ray pictopoetry’s poetics as a phenomenon significant for genre researches of surrealists is not staged at all. As for the specifics of the poetics of P. Eluard`s “pictopoetry”, it remains almost unexplored today. In the works of I. Ehrenburg and S. Velykovsky, the main attention is focused on the general analysis of P. Eluard`s poetry, his experience in the use of free verse and automatic writing. P. Eluard’s contribution to the development of visual poetry and the intermediate nature of his works are only partially considered by T. Balashova, Y. Dovga, I. Medvedeva, and the experience of poet’s work in tandem with illustrators became the subject of E. Miroshnikova special analysis. In Ukrainian Eluard`s studies, the attention of scinetists is focused on the study of biography, some techniques of the poet, for example, the use of free verse and automatic writing (O. Benina, V. Soloveychik), but not on the pictpoetry’s poetics as important sign of poetry of surrealism and it’s genre innovations. This fact necessitates the filling of the gaps that currently exist in the study of surrealist poetry in its innovative, revolutionary forms, including the “pictopoetry” of the master of surrealism – the French poet Paul Eluard. “Pictopoetry” as a concept developed theoretically by W. Brauner and revealed by P. Eluard in the collection “Free Hands” (created in collaboration with the artist Man Ray), embodies the intermedia research for surrealists of the twentieth century in general, as well as the unique experience of co-creation of two surrealist artists on a fundamentally new level, which goes far beyond the traditional collaboration of poet and illustrator. Therefore, P. Eluard`s “pictopoetry” is understood as an innovative form of surrealist poetry, built on the principle of synthesis of arts, on the intermediality. It seems relevant both in terms of understanding the work of surrealist poets, and in the context of Eluard’s studies, where the figure of the poet as an innovator, the practice of intermedia art, still remains insufficiently revealed. Thus, the purpose of this study is to identify the originality of the poetics of Paul Eluard’s “pictopoetry” in the collection “Free Hands”. The article analyzes both literary and psycholinguistic means of expressing the double code in the collection on the example of duopoems. It is determined that the intermedia research method of the boundary state image, in which surreal images are intertwined at the level of poetic word and image, creating new meanings, defines the poetics of “Free Hands” as a collection created “in four hands”. This fact will allow us to analyze more thoroughly both the phenomenon of “pictopoetry” in particular and the contribution of the poet and artist in its development.
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Alrashaidi, Eiman, Najlah Alrashidi, and Moneerah Alayar. "Surrealism in Contemporary Kuwaiti Art." مجلة الفنون التشکيلية والتربية الفنية 8, no. 2 (July 1, 2024): 128–48. http://dx.doi.org/10.21608/jfea.2024.281282.1130.
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Gharib, Samir. "Virtues and Tragedies of Surrealism in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 100–118. http://dx.doi.org/10.1215/10757163-9435709.
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The author begins by providing a summarized timeline of the beginning and development of surrealism in Egypt, with a focus on the activities of the Art and Liberty group, inspired and established in 1939 by Georges Henein. Nearly 50 years later, in 1986, the author published Surrealism in Egypt and Plastic Arts (Cairo: Ministry of Culture, Foreign Cultural Relations, 1986), a historical account of surrealism in Egypt and the artistic and societal impact of the Art and Liberty group within this context. He offers the reader a glimpse into his interest and intention in writing Surrealism in Egypt and a selective account of and his rebuttal to certain critics of his book. The author concludes by reiterating the importance of this era and the activities of the Art and Liberty group and by recommending that another, deeply researched book be published to surpass Surrealism in Egypt that includes the international or non-Egyptian relationships and activities of this group of writers and artists.
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Noheden, Kristoffer. ""The Universe Is a Quiet Catastrophe": Alan Glass's Late Assemblages." International Journal of Surrealism 1, no. 2 (March 2024): 1–24. http://dx.doi.org/10.1353/ijs.2024.a922365.
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Abstract: This article examines a selection of the assemblage artist Alan Glass's art made during the COVID-19 pandemic. In either direct or oblique ways, many of Glass's works from 2020 to 2022 allude to the pandemic and other ongoing crises including war and ecological catastrophe. Drawing on archival material and interviews with the artist, the article emphasizes the significance of poetry and esotericism for his art, and interprets the works under consideration as examples of gnosopoetics, or the pursuit of higher knowledge and radical transformation through surrealist art. After outlining Glass's trajectory from drawing and painting to the medium of assemblage and situating his art in the context of Surrealism in Canada, France, and Mexico, the author proceeds to a thematic discussion of Glass's pandemic-era works. These alternate between, on the one hand, depicting a broken world and thematizing death, and, on the other, calling forth possibilities of transformation through a surrealist poetics of the ascendant sign as well as imaginary forms of communication.
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Hamid Ali, Israa, and Bushra Salman Kazem. "Surrealism in the Hieronymus Bush Paintings." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 537–53. http://dx.doi.org/10.35516/hum.v49i1.1679.
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The first chapter of this research deals with the problem that the reseach addresses , its importance, and the need for it. The chapter also included the purpose of the research (the discovery of the mechanism of the work of Surrealism in the drawings of Hieronymus Bosch), within the period (1480-1516). In the relevant sources, the researchers concluded the first chapter by specifying the terms in the title of the research.
The second chapter includes the theoretical framework and the previous studies. The theoretical framework consists of two sections dealing with the first topic: The Conceptual Dimensions of Surrealism, as well as the Total Concepts on which Surrealism was based.
While the third chapter included research procedures, including the research community of (49), the nature of the selection of the research sample (4) plates, the procedures that were taken in the preparation of the research tool as well as the analysis of the research sample. The fourth chapter included the results of the research, conclusions, recommendations and proposals, and the results of the research:
1- Surrealism in Bush (Bush) achieved a large percentage after revealed many approaches in style and indications and content.
2- Approaches (Bush) in his Surrealist approach of the style (Salvador Dali). Both of them employ real things, simulated or after the change in structure as the composition and variance, as well as the approach to the quality of the subject.
3- The imagination has an import
ant role and space in the art of (Bush) because he was able to present subjects in unfamiliar scenes in tangible reality
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Krykbayeva, S., L. Bakirova, and K. Zhedelov. "PREREQUISITES AND PLOT-COMPOSITIONAL FEATURES OF THE DIRECTION OF SURREALISM IN THE VISUAL ARTS." EurasianUnionScientists 4, no. 10(79) (November 20, 2020): 10–15. http://dx.doi.org/10.31618/esu.2413-9335.2020.4.79.1059.
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The article reveals the preconditions for the emergence and features of surrealism as an artistic direction. The rejection of the traditions of realism, the autonomy of the artist's personality, irony, playfulness in creativity, the scandalous and shocking nature of his presentation are due to the turning point of the era. The study of surrealism is aimed at forming a systematic, holistic view of the art of the past century in the reader, developing his own position in relation to its diverse innovations.
The influence of scientific art criticism in the field of surrealism on the formation of aesthetic views of modern Kazakhstani artists is considered. Philosophy, art or the real sciences: life, death, time, memory, war, love - these topics are always relevant for all areas of humanity and worldview. Describes traditional and modern artistic techniques used in the author's works of art based on the symbolic texts of surrealism. In today's era of globalization, when the country seeks to rethink its original culture and form a national idea and ideology, one of the most pressing problems of the modern era is the study of the origins and nature of our national traditional art.
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Stolyarova, Elena G. "Joan Miro’s art in the context of abstract surrealism." Sphere of culture 2, no. 4 (December 17, 2021): 51–55. http://dx.doi.org/10.48164/2713-301x_2021_6_51.
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This article examines Joan Mirs original approach to abstract art. Abstract surrealism was formed in the visual arts and literature of the early twentieth century as an interpretation of the Western avant-garde movement. It was characterized by a special way of painting images of things that do not exist but capturing and transmitting them with the accuracy of a photographer, with a maximum degree of realism. Mirs artistic and creative approach to abstract surrealism has inspired contemporary art. The study of surrealism in the art of the twentieth century has given impetus to the search for new artistic methods and techniques, both in the fine arts and in decorative and applied works.
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Martínez Bravo, Víctor Hugo. "A Contemporary Scientific Study of André Breton’s Automatic Writing." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 161. http://dx.doi.org/10.17583/brac.2021.6341.
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This paper proposes a new scientific way to study the concept and technique of automatic writing in Surrealism. Based on the specialists of André Breton’s work and the experts of automatism, we expose here the literary, psychiatric, neurological and parapsychological influences that Breton had to create his own concept and writing technique. We suggest here that we have to add to all these influences, the spiritist one, specifically, that of Allan Kardec, whose doctrine and concepts, such as psychography, were a direct impact to the surrealist automatic writing, even when Breton wanted to dissociate his movement from Kardec’s doctrine. Automatic writing has been studied from many angles, specially from literary and art theory and criticism, but also from history of science, philosophy, neurology, psychology and psychiatry and even from occultism, hermeticism and esoterism. Nevertheless, we don’t know any contemporary scientific experiment on this surrealist practice, maybe because materialist principles that support traditional Neurosciences are unable to study automatic writing. For this reason, we propose to study automatic writing, not from regular Neuroscience principles that we disapprove here, but from a post-materialist Neuroscience viewpoint, which agrees with the values that Surrealism defended
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DONALDSON, JAMES. "Reading the Musical Surreal through Poulenc's Fifth Relations." Twentieth-Century Music 17, no. 2 (March 9, 2020): 127–60. http://dx.doi.org/10.1017/s147857222000002x.
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AbstractThis article develops a method of understanding concepts from the Parisian Surrealist movement in music using Poulenc's treatment of cadences and fifth relations as a case study. Although music was rejected by the group's figurehead André Breton as ‘the most profoundly confusing’ of all arts, many composers were keenly involved in Surrealist circles. Notably, Poulenc's acquaintance with major figures led him to set much of their literary work. But his engagement with their aesthetic principles extends deep into the musical form. After assessing Poulenc's flirtation with the movement's ideas, I ally William Caplin's codification of the cadence to the Surrealist objet trouvé. Combining Robert Hatten's musical ‘markedness’ and literary theorist Willard Bohn's model of Surrealism in art and literature, I explore how Poulenc's music engages with the Surrealist treatment of objects, automatism, and Apollinaire's ‘fantôme véritable’.
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Fu, Zeya. "Art in the Dream World - Surrealism." Highlights in Art and Design 1, no. 1 (September 13, 2022): 14–16. http://dx.doi.org/10.54097/hiaad.v1i1.1564.
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Surrealism advocates breaking through the concept of logic and reality, completely abandoning the logical and impressionistic image of reality and combining instinct and reality, the subconscious and dreams, to reveal the deepest world of the human psyche. A social thought and literary movement that emerged in France after the First World War and whose influence spread to all European countries. It involved all fields of literature, art, theatre and music. It absorbed anti-traditional and auto-creative ideas from Dadaism, but overcame the weaknesses of Dadaism's negation of everything and had a more affirmative belief and programmer, and spread most widely as a fine art movement between the two World Wars. Surrealism was an artistic trend that involved not only literature, but also music, painting and other artistic fields.
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Emanuel, M. "Surrealism and the Art of Crime." French History 26, no. 4 (July 20, 2012): 579–80. http://dx.doi.org/10.1093/fh/crs044.
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Behrens, Roy R. "Leonora Carrington: Surrealism, Alchemy and Art." Leonardo 39, no. 3 (June 2006): 271–72. http://dx.doi.org/10.1162/leon.2006.39.3.271.
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Adamowicz, E. "Surrealism and the Art of Crime." French Studies 63, no. 4 (October 1, 2009): 506–7. http://dx.doi.org/10.1093/fs/knp157.
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陈, 娟. "Animation Art—Natural Carrier of Surrealism." Art Research Letters 03, no. 04 (2014): 31–36. http://dx.doi.org/10.12677/arl.2014.34006.
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Heflin, Christina. "Jean Painlevé’s Surrealism, Marine Life and Non-Ocular Modes of Sensing." Cross-cultural studies review 2, no. 3-4 (2021): 143–62. http://dx.doi.org/10.38003/ccsr.2.1-2.6.
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The obsessive representation of and violence against the eye is inescapable in surrealist art, with works like Un Chien andalou and Histoire de l’oeil being the most renowned for their depictions of acts of ocular defilement. Over the years, scholars have questioned these artists’ intentions and have even gone so far as to position them as anti-ocular. Compromising the physical integrity of the eye is not necessarily an outright rejection of vision, as Martin Jay claims. Instead, it questions the hierarchy of the senses and promotes an enrichment of different sensory modes. The use of marine animals in surrealism seen in works by artists like Jean Painlevé represents beings which rely on other modes of sensing, thus navigating their worlds without visual primacy. I argue they are not anti-ocular but anti-ocularcentristic. Surrealism’s depictions of marine life reflect an interest in alternative sensory regimes and rejects the primacy of vision above other senses. These representations express a desire to move beyond the eye to expand perception and explore faculties of perception denied to the human eye. Moreover, these works also challenge other concepts such as gender roles, anthropocentrism/the human-animal boundary and C.P. Snow’s Two Cultures Theory.
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Bender, Courtney. "Mrs. Rockefeller’s Exquisite Corpse." Comparative Studies in Society and History 63, no. 4 (October 2021): 768–97. http://dx.doi.org/10.1017/s0010417521000244.
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AbstractThe “exquisite corpse” in this title refers to a gift book presented to Mrs. Abby Aldrich Rockefeller in December 1931, which contains signed notes from Rockefeller’s domestic employees, friends, ministers, art dealers, Museum of Modern Art (MoMA) employees, and also a signed painting by Diego Rivera. The book’s construction highlights the intersecting social networks and associations among a variety of religious, artistic, philanthropic, and domestic organizations and individuals that are more typically investigated as distinct or non-connecting. As such, the book invites an alternate reading of influences shaping MoMA’s earliest years. This interpretation takes inspiration from the surrealist games and conceits of ethnographic and artistic surrealism—an approach that is generatively suggested by the Tribute Book’s construction. Read in this way, I take the gift book to open up a range of associations that make possible modes of interpretation through which to consider the secular and the modern religious. I use the book’s intertextual qualities as an entry point into a new consideration of the presence and effects of liberal-protestant spiritual aesthetics in MOMA’s earliest years. I argue that such spiritual aesthetics shaped the secular museum’s curation, display, and interpretation of political artists including Rivera and European surrealists.
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Kusumawardhani, Mega Iranti, and Muhammad Cahya Mulya Daulay. "Studi Literatur Surealisme di Indonesia." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (June 21, 2021): 78–88. http://dx.doi.org/10.31937/ultimart.v14i1.2021.
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This article aims to trace back the Surrealism style in Indonesia through literature. The literature studies are done in two phases, aiming at two different goals. In the first phase, we accessed literature collections about Surrealism through Modern Art frameworks and context. In the second phase, we used two online directories that index open access journals; DOAJ (Directory of Open Access Journals) and Garuda (Garba Rujukan Digital). The result is a list of analyses on how the Surrealism discussion appears through the Indonesian language journal articles. Through the list of findings, we also try to determine our upcoming research. We will try to expand the surrealism discussion through moving image mediums in Indonesia.
Keywords: Surrealism; Indonesia; literature studies; painting; moving image
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Bilgi, Irem. "Lowbrow Art Movement as a Subculture Art and its Effects on Visual Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 232–39. http://dx.doi.org/10.18844/prosoc.v4i11.2879.
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Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years, Lowbrow artists have proved themselves and have begun to produce art and design works that are exhibited in different fields. The aim of this study is to emphasise the importance of Lowbrow art, which is seen as a subculture today. Keywords: Lowbrow, pop surrealism, street art, illustration, designer toy, subculture, visual design.
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Bergamaschi Novaes, Bárbara. "As forças saturninas nas Fotomontagens do poeta Jorge de Lima / The Saturnine Forces in the Photomontages of Jorge de Lima." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 55. http://dx.doi.org/10.17851/2179-8478.15.2.55-74.
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Resumo: A partir de uma análise seletiva de oito fotomontagens do livro “Pintura em pânico” (1943) de Jorge de Lima traçamos correspondências entre as imagens do poeta alagoano, a iconografia barroca e alegórica estudada por Walter Benjamin, e as tópicas privilegiadas pelos artistas surrealistas europeus. Veremos como a praxis e os procedimentos criativos de Lima bebem das fontes dos artistas da vanguarda francesa do início do século XX, ecoando as investigações empreendidas pelo movimento encabeçado por André Breton e Georges Bataille – que, por sua vez, se configurou, nas palavras do crítico Ronaldo Brito, como: “uma tentativa heróica de atacar o cogito cartesiano” e “denunciar a falência do projeto moderno”. Para tal nos apoiaremos nas preposições, escritos e obras destes escritores supracitados, bem como nas trocas epistolares entre os poetas, Murilo Mendes e Jorge de Lima, bem como a relação de ambos com o pintor Ismael Nery.Palavras chave: Surrealismo no Brasil; artes visuais; vanguardas modernas; fotografia.Abstract: From a selective analysis approach of eight photomontages of Jorge de Lima’s book “Pintura em Pânico” (1943), we point to several correspondences between the photo-collage images of the Alagoan poet, and the baroque and allegorical iconography studied by Walter Benjamin, as well as the themes favored by surrealist’s french artists. We will regard how Lima’s creative praxis and procedures had nourished from the early-20th-century French avant-garde surrealist artists, echoing the investigations undertaken by the movement headed by André Breton and Georges Bataille – described by art critic Ronaldo Ronaldo Brito as: “a heroic attempt to attack the Cartesian Cogito” and “denounce the bankruptcy of the modern project”. For such can we will base our analysis on the writings and works of Surrealism movement members, as well as in the epistolary exchanges between poet Murilo Mendes, Jorge de Lima and the painter Ismael Nery.Keywords: Surrealism in Brazil; visual arts; modern avant-garde; photography.
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.
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DUMLU, Gamze. "SURREALISM AND PHOTO-MANIPULATION IN PHOTO ART." IEDSR Association 6, no. 11 (February 24, 2021): 123–37. http://dx.doi.org/10.46872/pj.229.
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As a result of examining the art of photography in terms of aesthetics and advertisement, it aims to examine both the raw and processed photo-manipulations, especially the designs used in printed media and advertisements. The aim of the study; It covers the perceptual richness of the processed photographs and their examination from the perspective of surrealism. The effects of the photographs of the products of the brands after the photo-manipulation applications on the people were examined. Comparison method was made by placing these raw photographs of the products and processing them from a surreal point of view. The comparisons are interpreted from the artistic perspective and the artists' own views.
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Gitsoulis, Chrysoula. "Wittgenstein and Surrealism." Essays in Philosophy 13, no. 1 (2012): 74–84. http://dx.doi.org/10.5840/eip20121315.
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There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language – i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in imprtant respects. (1) can be seen as functioning as a direct method of ‘proof’ (i.e., attempt to convince the reader of some thesis), and (2) as an indirect method of ‘proof’ – proof by reduction ad absurdum. This essay will be devoted to clarifying (2) by forging an analogy with surrealism in art.
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Sanders, Karin. "The Romantic Fairy Tale and Surrealism: Marvelous Non-Sense and Dark Apprehensions." Romantik: Journal for the Study of Romanticisms 3, no. 1 (March 4, 2016): 33. http://dx.doi.org/10.7146/rom.v3i1.23252.
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Romanticism and surrealism shared a fascination with the fairy tale. Yet each was beholden to specific historical moments and particular aesthetic demands. What they wanted were not the same. This article considers how the romantic fairy tale nevertheless functions as a ‘seed’ for surrealists. Contagions, commonalities, and contrasts between the two movements are briefly outlined. A selection of fairy tales by Hans Christian Andersen is used to demonstrate how a host of visual reinterpretations including lithographs, photo-collages, and video art by twentieth-century surrealists like Salvador Dalí and Max Ernst, and twenty-first-century avant-garde artists like Åsa Sjöström, have reinterpreted the latent possibilities of non-sense in the fairy tale: the marvelous, the absurd, and the dream-like. The article demonstrates that by evoking the dark-romantic sides of Andersen’s works these avant-garde reconceptualizations in visual media predominantly point to shock, violence, war, and ecological disasters.
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Schulz, Cynthia. "Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema." Punk & Post-Punk 00, no. 00 (July 9, 2021): 1–20. http://dx.doi.org/10.1386/punk_00104_1.
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This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.
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Perelshtein, Roman Maksovich. "«Drowning by Numbers» by Peter Greenaway in light of surrealism." Journal of Flm Arts and Film Studies 5, no. 1 (February 15, 2013): 70–77. http://dx.doi.org/10.17816/vgik5170-77.
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The surrealism, while creating superreality for a superman, has overlooked reality and an personality, considering them used materials. But when the superman started conquering the world, wiping off the map cities and peoples, the enthusiasts of surrealism were appalled. The auteur can hardly cope with this madness game, when it is played by politicians. If Peter Greenaway in his Drowning by Numbers (1988), had betaken himself to countdown, he could have made much better use of decomposing reality idea. However, real art, and Drowning by Numbers is a work of art indeed, no matter what manifestoes it is hiding behind, always amasses the reality.
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Easton, Richard. "Canonical Criminalizations: Homosexuality, Art History, Surrealism, and Abjection." differences 4, no. 3 (November 1, 1992): 133–75. http://dx.doi.org/10.1215/10407391-4-3-133.
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