The Surrealist Movement
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Founded in 1919 by a small group of writers such as Andre Breton, Louis Aragon and Paul Eluard, the surrealist movement sprang from its protest against the 19th century values of bourgeois society and the establishment. Although the surrealist movement began with the writers, it extended its influence primarily through the surrealist artists and their visual arts (Carr & Zanetti, 2000). As an art form, surrealism repudiated the conventional artists' representation of external reality by striving to capture the purity of existence, or the essence of life. Based on this philosophy, some surrealist artists turned inwards and tapped into the realm of their unconscious by creating elaborate dreamscapes. Others questioned the relationship between objects and their representation through the juxtaposition of objects with unfamiliar associations or their placement them in incongruous settings, thus generating unexpected relationships between them. Many surrealist painters sought to obliterate the existence of the role of the deliberate and controlled artist by utilizing improvisational techniques such as automatic painting or experimenting with new and unusual media (Passeron, 1975). In spite of these eclectic representations, what unified them was the artists' fundamental quest to assert the mind and the imagination without the self-conscious control of rational thought and without concern for aesthetics or ethics (Breton, 1924, cited in Rubin, 1968, p. 64).
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lines and streaks of red (Picon, 1977).
In his effort to create automatic paintings that defied the rational control of the artist, Joan Miro developed his unique improvisational techniques. In The Birth of the World, Miro first poured blue wash over burlap. Then he used cloth and a sponge to spread the paint in a haphazard fashion. The emerging image of a primordial sea from the seemingly random patches of colors inspired Miro to paint lines and shapes using primary colors. As Miro did not set out to paint a vision of the origins of the world, it was as though the painting had asserted itself, thus representing his unconscious self. Nonetheless, Miro conceded the fact that the second phase of his painting was usually accompanied by deliberate choices in order to enhance the effects of his spontaneous creation (Rubin, 1968).
Unlike the first generation of the surrealist artists, Rene Magritte challenged the conventional representation of technique with his precise and prosaic representation of common objects in life. However, his unusual juxtaposition of familiar objects to forge unfamiliar associations generates a disturbing effect that is akin to the works of surrealist artists. For example, in The Rape, Magritte pai
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Approximate Word count = 2748
Approximate Pages = 11 (250 words per page)
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