Surrealism Essay, Research Paper


As World War I came to an terminal, the Dada motion evolved into a new motion called Surrealism. This medium of art created a pallet of pureness and hope though automatism and usage of dreams. The Surrealists strove for simpleness and spontaneousness or as some called it, automatism. They wanted to reply the inquiry & # 8220 ; how shall I be free? & # 8221 ; and to show thought without any corrupt prepossessions. They believed automatism & # 8220 ; would uncover the true and single nature of anyone who practiced it, far more wholly than could any of his witting creative activities. For automatism was the most perfect agencies for making and tapping the unconscious. & # 8221 ; ( Stangos 125 ) This free manner of look, foremost used in literary circles headed by Andre Breton and so by painters like Max Ernst, Joan Miro, Salvador Dali and Ren? Magritte, upheld the Dadaist rejection of traditional signifiers of art. However, by portraying a field of unconscious idea and thereby, following an uncontaminated world, the surrealists avoided the horrors of premeditated warfare and political, societal and economic prevarications and unfairnesss. Surrealist theoreticians found Surrealism to be:

& # 8220 ; a certain point of the head at which life and decease, the existent and the fanciful, the yesteryear and the hereafter, the catching and the incommunicable, the highs and the deepnesss, cease to be perceived contradictably. Now it is in vain that one would seek any other motivation for Surrealist activity than finding this point. ( Stangos 134 ) & # 8221 ;

By utilizing one & # 8217 ; s unconscious head, & # 8220 ; the imaginativeness in a crude province, & # 8221 ; ( Stangos 126 ) Surrealism found a topographic point where contradictory ideas might non function as dualities. Free of a socially constructed point of position or & # 8220 ; raison & # 8221 ; , a author or creative person travels to a topographic point of thought that is both irrational and rational at the same clip. Through the unconscious or a extremely allergic province of head, the surrealist brought away a new mode of seeing and experiencing the universe as it was understood and negotiated by Western peoples.

In its development, Surrealism celebrated the art of kids, huffy people and crude art. The Surrealists believed in the guiltless oculus. They found that art produced by immature kids was more existent than that produced by grownups & # 8211 ; since the art of grownups was normally repressed and contaminated. The Surrealists frequently played kids & # 8217 ; s games like the one where each participant draws a caput, organic structure or legs so folds the paper after his bend so that his part is non seen. The unusual images that resulted provided Joan Miro and others with inspiration for

plants, such as The Harlequin & # 8217 ; s Carnival. ( Stangos 127 )

In add-on to this technique, Max Ernst, in 1925, began utilizing a kid & # 8217 ; s technique which led him in his way of art for the following two decennary

s. The technique was termed frottage, or “rubbing” . It involved puting a piece of paper over a textured surface and so rubbing it with a pencil to enter the texture. Afterwards, the images produced would be rearranged and the consequences were new images and associations from these initial frictions. These images would so travel on to go inspiration and the basis for pictures and sculptures.

Ordinary signifiers and objects were used to make art. The Surrealists saw an object and created art out of it because of the feelings that object inspired or what that object lent itself to be transformed into.

In add-on to the childlike artlessness the Surrealist sought, looked into his dreams and into his childhood for thoughts for his art. The Surrealists looked towards dreams because they believed dreams were ideas and imaginativenesss in the crude province. Dreams were portion of the unconscious, and the unconscious was stainless. In the beginning of the Surrealist period, creative persons used mesmerism and drugs to venture into the unconscious province to pull out images, word and thoughts. Andre Breton said that these images and feelings could non be had in the witting province. Quite frequently, the Surrealists would make dream-like scenes and scenarios which would otherwise be impossible in the natural universe.

Salvador Dali one time said the lone difference between himself and a lunatic was that he was non huffy. His pictures were frequently a eccentric and titillating dream universe influenced by dreams and his fright of sex. Dali painted with a photographic like truth and used bright intense colourss that made his plants look alive. However, his topics were evidently inactive because of the dream like scenes environing them. He described the theoretical footing of his pictures as & # 8220 ; paranoiac-critical & # 8221 ; : the creative activity of airy world from elements of visions, dreams, memories and psychological or pathological deformations through the usage of familiar objects such as tickers, insects and telephone and the primary images of blood decay and body waste. ( Wheeler 291 ) Dali & # 8217 ; s images bit by bit transformed into a ocular incubus such as the thaw tickers of The Persistence of Memory.

Like the impossiblenesss of Dali & # 8217 ; s scenes, Ren? Magritte painted world with an illusionistic turn. In The Human Condition and other plants, Magritte uses semblance to gull the oculus into believing something is what it truly is non. In The Human Condition, the oculus is fooled into believing that the picture is of a landscape being viewed through a window. In world, the picture is of a picture on an easel in forepart of a window incorporating the position outside that

window. Magritte besides demonstrates this illusionistic quality in The False Mirror where the flag of the painted oculus is filled with a sky scene. Surrealists were seeking & # 8211 ; pure, stainless and self-generated.

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