{"id":599414,"date":"2024-11-21T11:15:06","date_gmt":"2024-11-21T10:15:06","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/surrealism-one-hundred-years-of-a-movement-that-is-still-very-contemporary\/"},"modified":"2026-04-01T12:14:09","modified_gmt":"2026-04-01T10:14:09","slug":"surrealism-one-hundred-years-of-a-movement-that-is-still-very-contemporary","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/surrealism-one-hundred-years-of-a-movement-that-is-still-very-contemporary\/","title":{"rendered":"Surrealism: one hundred years of a movement that is still very contemporary"},"content":{"rendered":"\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Salvador Dal\u00ed,
Dream caused by the flight of a bee around a pomegranate, one second before awakening<\/em> (circa 1944). \u00a9 Salvador Dal\u00ed, Fundaci\u00f3 Gala-Salvador Dali \/ Adagp, Paris 2024. <\/figcaption><\/figure>\n\n\n\n

The origins of Surrealism, a major artistic movement<\/h2>\n\n\n\n

So what is Surrealism<\/strong>? Looking back at its origins, one understands what it reacted against and what its revolutionary programme was; one also understands the reasons for its continuing significance today.<\/p>\n\n\n\n

In Paris, in 1924, Surrealism was just a small group of poets in their 30s, most of whom came from Dada. One of them, Andr\u00e9 Breton<\/strong>, began a preface to Soluble Fish<\/em>, a collection of his poems. While he wrote, the text started to take on a more general turn, transforming into a theoretical manifesto that included a dictionary-style definition of Surrealism<\/strong>: \u201cPure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupations.\u201d The word itself was not new \u2013 Guillaume Apollinaire had coined it shortly before his death in 1918 \u2013 but Breton\u2019s definition was novel and compelling.<\/p>\n\n\n\n

A rejection of traditions and conscience<\/h2>\n\n\n\n

The first point: breaking away from traditions, discarding the authority of rationality and conscience. Automatism would allow the creative act to happen without its being subservient to any formal rules or \u201caesthetic and moral\u201d laws. Everything within the person expressing him or herself could be laid bare, without self-censorship or taboos. Breton referred to what Sigmund Freud<\/strong> called the unconscious \u2013 during World War I he had trained as a psychiatrist, and was therefore familiar with the early works of the founder of psychoanalysis, who he went to meet in Vienna in 1921. The discussion didn\u2019t go very far, but the essential point was the requirement for absolute freedom, which had only previously been achieved by a very few poets \u2013 Rimbaud, Lautr\u00e9amont, and Jarry. This constituted a rupture with previously established principles and signified a declaration of revolution. Naturally, this call for untramelled liberty resonates strongly in today\u2019s standardized, normalized, and ultra-monitored societies.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Dora Maar,
Untitled [Main-coquillage]<\/em> (1934). \u00a9 Centre Pompidou, MNAM-CCI\/Jacques Faujour\/Dist. RMN-GP
\u00a9 Adagp, Paris, 2024. <\/figcaption><\/figure>\n\n\n\n

From literature to painting, art in all its forms<\/h2>\n\n\n\n

The second point: this call is valid for all modes of expression, per Breton\u2019s \u201cby any other manner.\u201d As a poet among poets \u2013 Paul \u00c9luard, Philippe Soupault, Robert Desnos, Louis Aragon<\/strong>, etc. \u2013 he referred first and foremost to language. Indeed, initially, Surrealism was a literary avant-garde, and the title of the magazine that Breton had founded with Aragon and Soupault in 1919, and which he edited until its last issue in 1924, was Litt\u00e9rature<\/em>.<\/p>\n\n\n\n

Surrealism has remained a literary affair ever since \u2013 one of the movement\u2019s leading poets, Annie Le Brun<\/strong>, died just this summer. To write a history of Surrealist literature would boil down to listing, in addition to those already mentioned, the majority of the most popular French-language poets of the 20th century, including Antonin Artaud, Ren\u00e9 Char, and Aim\u00e9 C\u00e9saire. But, right from the beginning, Surrealism was open to any and all art forms.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Giorgio De Chirico,
The Love Song<\/em> (1914). Digital image, The Museum of Modern Art, New York\/Scala, Florence. \u00a9 Adagp, Paris, 2024. <\/figcaption><\/figure>\n\n\n\n

Before it, Picasso and Apollinaire<\/strong>\u2019s Cubism and Tzar<\/strong>a and Picabia<\/strong>\u2019s Dada had brought together writers and painters. But Surrealism turned this convergence of the arts into an existential principle. \u201cThe real functioning of thought\u201d can take on the most diverse material forms, and the notion of automatism is as incompatible with conventional artistic teaching \u2013 an alienation of the creative self \u2013 as it is with technical specialization \u2013 a set of limits on that self. Therefore, there could be Surrealist visual arts, and Breton published the first edition of Surrealism and Painting<\/em> in 1928.<\/p>\n\n\n\n

The principle was the same as in poetry: constant experimentation and a search for the unknown. Max Ernst, Joan Mir\u00f3, Yves Tanguy, Ren\u00e9 Magritte<\/strong>, and countless others \u2013 so many that we shan\u2019t even try to list them all \u2013 pioneered a whole new field of visual invention. Cinema went Surrealist too \u2013 Luis Bu\u00f1uel, Alain Robbe-Grillet, and David Lynch<\/strong>, among others. Mulholland Drive<\/em> is a Surrealist film in the truest sense of the word. So the point has been made: Surrealism revolutionized the arts.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Ren\u00e9 Magritte,
The Empire of Enlightenment<\/em> (1954). \u00a9 Brussels, RMFAB \/ photo: J. Geleyns \u2013 Art Photography. <\/figcaption><\/figure>\n\n\n\n

The political and social commitment of the Surrealists<\/h2>\n\n\n\n

But that\u2019s not all. The recognition that museums now grant the movement should not obscure a third, equally essential point. The Surrealists<\/strong> were not only revolutionary in their books and paintings, they were socially and politically revolutionary. The first magazine they created was called La R\u00e9volution surr\u00e9aliste<\/em> (The Surrealist Revolution<\/em>), and was followed by Le Surr\u00e9alisme au service de la r\u00e9volution<\/em> (Surrealism in the Service of the Revolution<\/em>), an even more explicit title. Its pages featured dreams and also manifestos against the three repressive powers that were the army, universities, and psychiatric institutions. In its pages, Benjamin P\u00e9ret derided Christianity while \u00c9luard<\/strong> denounced European colonialism and Breton called for a general strike.<\/p>\n\n\n\n

The Surrealists tried to form an alliance with the French Communist Party, but failed due to hostility from Moscow. As of 1936, with the unfortunate exception of Dal\u00ed<\/a>, they all sided with the Spanish Republic against Franco\u2019s coup d\u2019\u00e9tat and joined the war against fascism. In 1938, Breton travelled to Mexico City to meet Leon Trotsky, and together they wrote a Manifesto for an Independent<\/em> Revolutionary Art<\/em>.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Leonora Carrington,
Green Tea (The Oval Lady)<\/em> (1942). \u00a9 Adagp, Paris, 2023. \u00a9 Digital image, The Museum of Modern Art, New York\/Scala, Florence. <\/figcaption><\/figure>\n\n\n\n

After France\u2019s defeat in 1940, the Surrealists had to choose between exile \u2013 Breton, P\u00e9ret, Masson, and Ernst among others, who fled to the US or Mexico \u2013 or joining the clandestine activities of the Resistance \u2013 Aragon, \u00c9luard, Char, Bellmer, etc. In 1941, in Martinique, Breton discovered C\u00e9saire\u2019s Journal of a<\/em> Homecoming<\/em> and became friends with the poet and his wife, the author Suzanne C\u00e9saire<\/strong>. Here again, it would be easy to find evidence to demonstrate that the Surrealist revolution sought to impact society as a whole \u2013 the growing moral permissiveness during de Gaulle\u2019s presidency and after May 1968 was one of the results. It is therefore no surprise, at a time when puritanical regression and a renewed moral order are gaining strength, that the freedom advocated by Surrealism is once again a model.<\/p>\n\n\n\n

The are two other equally topical reasons for this. The first is that Surrealism is incompatible with nationalism, aggressive patriotism, and, that fatal consquence of the two, racism. Ernst, who had been a German soldier and therefore an enemy, entered France in 1922 on \u00c9luard\u2019s passport \u2013 this is more than just a trivial detail. Two years earlier, the Romanian poet Tristan Tzara arrived in Paris from Zurich, where he had been one of the founders of Dada, like Victor Brauner<\/strong>, who later fled anti-Semitism. Mir\u00f3 was Catalan, as was Antoni T\u00e0pies<\/strong>.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Max Ernst,
Nature in the Light of Dawn<\/em> (1936). Staedel Museum, Frankfurt. <\/figcaption><\/figure>\n\n\n\n

Surrealism, an international movement<\/h2>\n\n\n\n

The movement continued to expand between the wars, to Brussels, Prague, London, and the Nordic countries, as well as to Brazil, Mexico, the United States, and Japan. The Surrealist exhibitions organized by Breton and Duchamp <\/strong>in Paris in 1938, 1947, and 1959 all included the word \u201cinternational\u201d in their titles, and each welcomed newcomers. For example, the third exhibition featured works by Robert Rauschenberg<\/strong> and Jasper Johns<\/strong>, who were unknown in Europe at the time. Surrealism greatly contributed to the internationalization of the creative arts in the disastrous context of the interwar period, which is another aspect that resonates today.<\/p>\n\n\n\n

The same can be said of a final characteristic of Surrealism, namely the importance of female artists to the movement, which is much more readily acknowledged today than it was in the past. Toyen, Leonora Carrington, Remedios Varo, Dorothea Tanning, Jane Graverol, Ithell Colquhoun, and Louise Bourgeois<\/strong> were not the \u201cwives of\u201d or \u201cmodels of,\u201d but artists in their own right whose work now commands as much attention as that of their male counterparts. In 2022, the Venice Biennale<\/strong> displayed them together in a large \u2013 albeit not large enough \u2013 gallery so that everyone would finally get it. Since then, the initiative has gathered momentum; this is another example of Surrealism\u2019s relevance for today.<\/p>\n\n\n\n

“Surrealism”, exhibition until January 13, 2025 at the Centre Pompidou<\/a>, Paris 4th.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The origins of Surrealism, a major artistic movement So what is Surrealism? Looking back at […]<\/p>\n

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