A Companion to Dada and Surrealism (Blackwell Companions to Art History)

A Companion to Dada and Surrealism (Blackwell Companions to Art History)

Language: English

Pages: 496

ISBN: 1118476182

Format: PDF / Kindle (mobi) / ePub

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

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United States (in San Francisco, Portland, and Wisconsin for example) and there also remain a significant cluster of “surrealists in movement,” many of whom broke with the Chicago group in the 1970s (Burns and Graubard 2011). The Romanian poet in exile Valery Oisteanu also maintains a Poets and Artists Surrealist Society (PASS) in New York. Surrealism had a great influence in Quebec in the late 1940s through Jean-Paul Riopelle and Paul-Émile Borduas and the group “Refus Globale,” devoted to a

“However with the two main Belgian surrealist painters, Magritte and Delvaux, the genealogist may feel reassured. They evidently belong to the family” (Jean 1975). Jean omits Graverol’s significance as co-founder of TEMPS MÊLÉS and its review, established by Orenstein, and indicated in the inclusion of her signature in the “Signature of Surrealists” page. Jean mentions and discusses many more names of lesser- and well-known male surrealists in constructing his peculiarly same-sex “family” of male

by Mary Ann Caws, Rudolf E. Kuenzli, and Gwen Raaberg. Cambridge MA: MIT Press, pp. 1–10. Reilly, Eliza Jane. 1997. “Elza von Freytag-Loringhoven.” Woman’s Art Journal, 18(1): 26–33. Rosemont, Penelope. 1998. Surrealist Women: An International Anthology. London: The Athlone Press. Rubin, William S. 1968. Dada, Surrealism and their Heritage. New York: The Museum of Modern Art. Rubin, William S. 1969. Dada and Surrealist Art, New York: Harry N. Abrams. Rubin, William S. 1978. Dada and Surrealist

298; Camfield 1993, 57). The flurry of dada activity in Cologne that followed was much encouraged by Arp’s repeated visits to the city shortly afterwards. The Arp family had property in Cologne and Arp’s father was living there at the time (Poley 1995, 221). He died in January 1921, after which point “Cologne Dada” effectively took place elsewhere, in the “outdoors” as the meeting between Arp, Ernst, and Tzara in the Tirol the following summer was jokingly referred to (Dada au grand air) and in

“center,” it may not have been so clear to those who lived, for instance, in Brussels, Prague, or Tokyo. In addition, the question of center and periphery is not limited to the international scene. Within countries, even within cities, different surrealist groups have at times emerged, sometimes in conflict with an established group, more often as evincing a different perspective which may reflect nothing more than individual penchants. Geography may also impose a certain variance. So, for

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