French Provenance in the Personal Library of the Art Critic and Theorist Karel Teige in the National Museum Library

2016 ◽  
Vol 61 (1-2) ◽  
pp. 83-92
Author(s):  
Jaroslava Kašparová ◽  
Jana Konečná
Keyword(s):  
Modern Art ◽  
Le Corbusier ◽  
National Museum ◽  
Filippo Tommaso Marinetti ◽  
Andre Breton ◽  
Salvador Dali ◽  
Tristan Tzara ◽  
André Breton ◽  
Personal Library

The National Museum Library contains the personal library of an outstanding Czech critic and modern art theorist, Karel Teige. From the 1920s, he was in touch with the founders and important representatives of modern art movements, mostly from France, whose relations and cooperation are i.a. demonstrated by the books donated to him. The article presents several dedications by André Breton, Tristan Tzara, Filippo Tommaso Marinetti, Le Corbusier and Salvador Dalí.

Federating the Modern Spirit: The 1922 Congress of Paris

PMLA ◽  
2015 ◽  
Vol 130 (1) ◽  
pp. 37-53 ◽  
Author(s):  
Marius Hentea
Keyword(s):  
World War I ◽  
Andre Breton ◽  
World War ◽  
The Public ◽  
International Conference ◽  
Tristan Tzara ◽  
The Arts ◽  
André Breton ◽  
Death Knell

The aim of the ill-fated 1922 Congress of Paris, an international conference organized by André Breton, was to diagnose the sources of the “modern spirit.” Although the congress had ambitious international goals, it was brought down by a remark with xenophobic connotations. Largely remembered today as the death knell of Paris Dada—the public fight between Tristan Tzara and Breton meant not only that the congress never took place but also that Paris Dada was dissolved—the congress's failure stemmed from the tensions involved in selfconsciously deining modernism. Arguing that ambivalence over the concept shaped the main participants' understanding of the congress, I read the congress as a concrete manifestation of the impulse to federate the arts in post-World War I France.

scholarly journals The Origins of Surrealism. Absolutizing the Unconscious

2012 ◽  
Vol 4 (2-3) ◽  
pp. 296-305
Author(s):  
Zlatoslava Alexandrovna Adashevskaya
Keyword(s):  
Andre Breton ◽  
The Unconscious ◽  
Jean Cocteau ◽  
Luis Bunuel ◽  
Salvador Dali ◽  
André Breton

The article analyses three films that marked cinema’s mastering of the leading artistic trend at the turn of the 20-ies-30-ies ,that of Surrealism. Comparing films «Un Chien andalou»(1929) and «L'Age d’Or»(1930) by Salvador Dali and Luis Bunuel with the film «Le sang dun poète» by Jean Cocteau (1931) the author follows the transformations the main postulates of Andre Breton, the founder of Surrealism, underwent.

scholarly journals Salvador Dalí y el psicoanálisis: una relación revisitada

2017 ◽  
Vol 18 (18) ◽  
Author(s):  
Miguel Gutiérrez Peláez ◽  
Sergio A. González Beltrán
Keyword(s):  
Sigmund Freud ◽  
Jacques Lacan ◽  
Andre Breton ◽  
Salvador Dali ◽  
André Breton

La relación entre el surrealismo y el psicoanálisis tiene su fundamento en el hecho de que tanto Salvador Dalí como André Breton se sintieron fuertemente influenciados por las nuevas comprensiones sobre el psiquismo humano, el arte y la creatividad que se abrían con los escritos de Sigmund Freud. A través de una revisión de literatura, se observa la influencia de la obra psicoanalítica en la vida y obra de Salvador Dalí y su relación con el movimiento psicoanalítico. Se revisan los encuentros en persona entre Dalí y Freud por medio de la correspondencia de la época y los efectos que tienen en cada uno de ellos. Se encontró que la relación de Dalí con el psicoanálisis se ubica en el plano teórico y personal. Incluso, en un intento de pensar más allá de Freud, Salvador Dalí teoriza lo que denomina el “método paranoico-crítico”, que es una propuesta para poner la paranoia al servicio de la creatividad, idea que fue rescatada por el psicoanalista francés Jacques Lacan.

Breton, André (1896–1966)

2018 ◽  
Author(s):  
Anne Cunningham
Keyword(s):  
World War Ii ◽  
Modern Art ◽  
Free Expression ◽  
Central Theme ◽  
Andre Breton ◽  
World War ◽  
The Unconscious ◽  
André Breton

André Breton was a French poet, writer, editor and critic. He is best known as one of the key founders of Surrealism. Breton published the Le Manifeste du Surréalisme (The Manifesto of Surrealism) in 1924, announcing the central theme of the pre-eminence of the irrational and the automatic over logic and reason, encouraging free expression and the release of the subconscious mind in an effort to reject and overthrow social and moral conventions. Influenced by Sigmund Freud’s theories of the unconscious, Surrealism sought to blur the distinctions between dream and reality, reason and madness, objectivity and subjectivity. Breton was a strict disciplinarian within the movement, expelling many members, and was nicknamed ‘The Pope of Surrealism.’ Breton’s other well known works of fiction include Nadja (1928) and L’Amour fou (1937—Mad Love). During World War II, Breton’s writing was banned by the Vichy government, and he fled France until 1946 when he returned to Paris. He was an avid collector of modern art, ethnographic materials, and unusual objects. His collection of over 5,300 pieces was open to researchers at his Paris apartment after his death in 1966 until 2003, but was closed after attempts to form a surrealist foundation failed, and his collection was auctioned off. A wall of his apartment is preserved today at the Centre Georges Pompidou.

scholarly journals Mais sobre surrealismo e filosofia:

2019 ◽  
Vol 3 (5) ◽  
pp. 145-158
Author(s):  
Claudio Willer
Keyword(s):  
Andre Breton ◽  
Salvador Dali ◽  
André Breton

O presente artigo examina o tratamento dado ao sujeito e à subjetividade no âmbito do surrealismo. Em especial, comenta procedimentos preconizados por André Breton e Salvador Dali para que a subjetividade prevalecesse em seu confronto com a objetividade. Mostra a complementaridade do “automatismo psíquico” de Breton, passivo, e do “método paranóico-crítico” de Dali, ativo; e como tais procedimentos foram antecipados por Baudelaire, ao falar em “magia sugestiva” contendo ao mesmo tempo sujeito e objeto, ao expor a “imagem dupla” de Dali em seus poemas, e em passagens como seu elogio à contemplação das nuvens em “A viagem”.

The Mystery … The Blood … The Age of Gold: Sculpture in Surrealist and Surreal Cinema

2017 ◽  
pp. 46-64
Author(s):  
Susan Feleman
Keyword(s):  
Andre Breton ◽  
Jean Cocteau ◽  
Salvador Dali ◽  
André Breton ◽  
Female Nude ◽  
Rene Magritte ◽  
Man Ray ◽  
René Magritte

Figurative sculpture had a special status within the visual universe of Surrealism. Iconographically, statues are a prominent element in the dreamlike spaces of Giorgio de Chirico’s paintings of 1913–14 that so enchanted André Breton and friends after the end of the war and became among the first and most paradigmatic images associated with the movement. Statues appear in many other Surrealist paintings, including those of Salvador Dalí, where, although they might stand on plinths or pedestals, they equivocate between the appearance of inanimate and living bodies, through the impression of liquidity and putrefaction that infects all his visions. In Surrealist collages, too, bodies are often rendered equivocally sculptural through fragmentation, for instance in photographic or printed images of the female nude rendered headless or otherwise dismembered to resemble antiques, in the works of Max Ernst and others. René Magritte, Paul Delvaux, Man Ray, Pierre Boucher, Picasso, and Jean Cocteau, among others associated with Surrealism, also incorporated statuary into their paintings, drawings, and photographs.

‘Fixé par les cris des hirondelles au vol géométrique du désir’ (Picasso, 7 June 1936)

2020 ◽  
pp. 23-38
Author(s):  
Peter Read
Keyword(s):  
Andre Breton ◽  
Prose Poems ◽  
Tristan Tzara ◽  
André Breton ◽  
Creative Tension

 Between 1935 and 1939, Picasso wrote nearly 350 prose poems, mainly in French, revealing, according to André Breton, his ‘besoin d’expression totale’, driven, according to Tristan Tzara, by his “‘imagination torrentielle’. This chapter seeks to explore and appreciate the creative tension in Picasso’s prose poems between irrepressibly inventive improvisation and a complementary tendency to connect and orchestrate, through the use of multifarious patterns and serial permutations. These formal qualities reveal and emphasise the writer’s personal and political desires and preoccupations. Threads of symmetry and anaphora in Picasso’s literary manuscripts, sometimes extending from one text into others over long periods of time, invite comparison with similarly continuous lines of graphic experimentation in his sketchbooks, confirming the intergeneric persistence and consistency of his creative impulses and strategies. 

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