A Companion to Dada and Surrealism (Blackwell Companions to Art History)
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This excellent overview of new research on Dada and Surrealism blends expert synthesis of the latest scholarship with completely new research, offering historical coverage as well as in-depth discussion of thematic areas ranging from criminality to gender.
- This book provides an excellent overview of new research on Dada and Surrealism from some of the finest established and up-and-coming scholars in the field
- Offers historical coverage as well as in–depth discussion of thematic areas ranging from criminality to gender
- One of the first studies to produce global coverage of the two movements, it also includes a section dealing with the critical and cultural aftermath of Dada and Surrealism in the later twentieth century
- Dada and Surrealism are arguably the most popular areas of modern art, both in the academic and public spheres
later contribute. In 1935 Yamamoto, Yamanaka, Shimozato (also a contributor to Yoru no Funsui), and Sakata Minoru (1902–1974) founded the Nagoya photography group. Sakata and Shimozato acted as ambassadors for Surrealism, visiting the Fukuoka-based surrealist photographic group Society Irf in 1940, leading to the publication of the only issue of the Society’s journal in commemoration. Shimozato, who was also a painter and a member of Shinzōkei, had executed his earliest surrealist paintings after
from Poland, Serner from Bohemia, the remainder from Romania, and significantly all of them Jewish).4 Born Samuel Rosenstock in Moineşti, Moldavia, Tzara’s earliest contributions to the Cabaret Voltaire included texts in Romanian, and a number of early poems written in Bucharest formed the basis for his French-language publications (Sandqvist 2006, 43).5 His theoretical positions and poetic sensibility first emerged from the prewar Bucharest avant-garde, circles that included the poet Ion Vinea
sources (as well as Nietzsche), which seemingly separates it from the more psychoanalytically inflected notion of memory at the heart of Surrealism, the surrealists nevertheless seem to have picked up on de Chirico’s apparent use of mnemonic devices. As elucidated by the Renaissance scholar Frances Yates, mnemotechnics had formed an important part of classical rhetorical training and was revived, in hermeticized form, in the late thirteenth century by the Spanish mystic Ramon Lull and later by
Figure 18.1 André Breton in his studio, 42, rue Fontaine. June 1965. Sabine Weiss. Breton’s collection served as a laboratory out of which the group’s collective thoughts and experiences were forged, which he faithfully recorded and commented upon throughout his life, beginning with his years in the Dada movement (Eburne 2011; Shelton 2011, 212). From the first object he acquired as a teenager with prize money for good results at school, an Easter Island statuette he later reproduced in Nadja
167–173. Maurer, Evan. 1984. “Dada and Surrealism.” In “Primitivism” in Twentieth-Century Art: Affinity of the Tribal and the Modern, edited by William Rubin, New York: Museum of Modern Art, pp. 535–593. Mauzé, Marie. 2008. “Totemic landscapes and vanishing cultures: Through the eyes of Wolfgang Paalen and Kurt Seligmann.” Journal of Surrealism and the Americas, 2/1: 1–24. Meffre, Liliane. 1993. Carl Einstein: Ethnologie de l’art moderne. Marseille: André Dimanche. Mikkonen, Kai. 2009.