SurrealismThe conscious and unconscious come

together in our DREAMS…..

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Figure 33-44 GIORGIO DE CHIRICO, Melancholy and Mystery of a Street, 1914. Oil on canvas, 2’ 10 1/4” x 2’ 4 1/2”. Private collection.

Pre- Surrealist•De Chirico - Metafisica • NOT a Surrealist, but

influenced later Dadaists & Surrealists

Melancholy and Mystery of a Street

long setting sun, empty van, hoop?, ominous shadow,

-strangeness of familiar objects

there is a sense of impending evil that “underneath this reality in which we live and have our being, another and altogether different reality lies concealed.”

-Nietzche-

Salvador Dali

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Figure 33-46 SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2” x 1’ 1”.

Dali-influenced by Freud. -PROCESS -paranoiac critical method - dream world seems real b/c its painted perfectly.Sought to “materialize the irrational with precision so that imagined world is as concrete as the real world….”Persistence of MemorySymbols:Ants- decayRocks – eternityClocks - timeMeaning ?

Vast, empty landscape, visual ironiesTime is artificial, cannot withstand true power of the universe….will the sun ever set?

Sleep 1937

Metamorphosis of Narcissus 1937

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Figure 33-47 RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1

MagritteCreated illogical painting to shock and confuse viewers: like a bad dream …

Painted meticulouslySubverting logic and common senseHow do we read visual art? –

we can’t rely on the rational…

Treachery of Images

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Automatic writing

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Figure 33-50 JOAN MIRÓ, Painting, 1933. 5’ 8” x 6’ 5”.

Figure 33-51 PAUL KLEE, 1922. Watercolor and pen and ink, on oil transfer drawing on paper, mounted on cardboard, 2’ 1” x 1’ 7”.

Miro - Master Automatist= CHANCEProcess: two stages: 1.free(unconscious); 2.controlled(conscious) planned accidentsStarted with scattered cutouts and then painted the silhouettes – society “lets go”STYLE: neg/pos space interplay, dark, obvious focal points, shapes, lines, 2D

KleeProcess: Stare at an image, and let the brush lead him until image emerged…. STYLE: Ambiguous, focus on simple lines, childlike, more based on real life than Miro.

, Twittering Machine

, Painting

Miro

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Miro

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Figure 33-49 FRIDA KAHLO, The Two Fridas, 1939. Oil on canvas, 5’ 7” x 5’ 7”.

Frida Kahlo-Two Fridas-Did NOT consider herself a Surrealist

What is being represented?Spanish “lady” vs. Mexican peasant(political undertones)“Euro dress”=Imperial forces in SpainIndigenous dressHeart = Aztec symbol that Mexican Nationalists idealized (as the last great rulers)Diego as baby, surgical tool…..?

Frida and Diego

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Figure 33-48 MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” in diameter; saucer, 9 3/8” in diameter; spoon, 8”. Museum of Modern Art, New York (purchase).

OPPENHEIM, Object (Le Déjeuner en fourrure),

Combination of unlike objects

Alchemy…

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Figure 34-3 ALBERTO GIACOMETTI, Man Pointing, 1947. Bronze no. 5 of 6, 5’ 10” x 3’ 1’ 5 5/8”. Nathan Emory Coffin Collection of the Des Moines Art Center, Des Moines. (Purchased with funds from the Coffin Fine Arts Trust.)

GIACOMETTI, Man Pointing, 1947

Alienated, solitary, lost in the world’s immensity

Expressive and Formalistic

1. Which of the following is a practice of Jean Arp?A) Relying on the element of chanceB) Performance artC) Changing the meaning of readymade objectsD) Depicting dreams through art

2. Which of the following is a practice of Duchamp?A) Relying on the element of chanceB) Performance artC) Changing the meaning of readymade objectsD) Depicting dreams through art

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3. Which of the following artists promoted automatism (the creation of art without conscious control)?A)DaliB)MagritteC)MiroD)Oppenheim

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