#Surrealist movement

[possible-streetwear]

[huariqueje]

Portrait of René Crevel - Pavel Tchelitchew , 1930s.

Russian, 1898-1957

Gouache on paper,  64 x 49 cm. 25.2 x 19.3 in.

[nieceofshakespeare]

whisked away

[angelkarafilli]

Paul Éluard born Eugène Émile Paul Grindel was a French poet and one of the founders of the Surrealist movement.

In 1916, he chose the name Paul Éluard, a matronymic borrowed from his maternal grandmother. He adhered to Dadaism and became one of the pillars of Surrealism by opening the way to artistic action politically committed to the Communist Party.

During World War II, he was the author of several poems against Nazism that circulated clandestinely. He became known worldwide as The Poet of Freedom and is considered the most gifted of French surrealist poets.

Tout dire

Le tout est de tout dire, et je manque de mots

Et je manque de temps, et je manque d΄audace

Je rêve et je dévide au hasard mes images

J΄ai mal vécu, et mal appris à parler clair.

Tout dire les roches, la route et les pavés

Les rues et leurs passants les champs et les bergers

Le duvet du printemps la rouille de l΄hiver

Le froid et la chaleur composant un seul fruit

Je veux montrer la foule et chaque homme en détail

Avec ce qui l΄anime et qui le désespère

Et sous ses saisons d΄homme tout ce qui l΄éclaire

Son espoir et son sang son histoire et sa peine

Je veux montrer la foule immense divisée

La foule cloisonnée comme un cimetière

Et la foule plus forte que son ombre impure

Ayant rompu ses murs ayant vaincu ses maîtres

La famille des mains, la famille des feuilles

Et l΄animal errant sans personnalité

Le fleuve et la rosée fécondants et fertiles

La justice debout le pouvoir bien planté

Pouvoir Tout Dire (1951)

[internationalemeteorologie]

Denis Sarazhin

Charades game (series). 2024

[thinkingimages]

Man Ray (Emmanuel Radnitzky, dit), Ithell Colquhoun, vers 1932 Epreuve gélatino-argentique, 11,1 x 8,1 cm © Man Ray Trust / Adagp, Paris Centre Pompidou, Mnam-Cci /Dist. Rmn-Gp

[romanceyourdemons]

i’m interested in the choices of artistic inspiration the call of cthulhu (2005) made, and, to be clear, i don’t agree with them. the conceit of the film is that it presents itself as a film adaptation of hp lovecraft’s the call of cthulhu may have looked at the time of its 1926 publishing.

first and most obviously, to my eye the cinematography itself was very obviously late 30s-early 40s classic noir style, rather than anything from the 20s. the fine greyscale of high quality 1940s filmstock, the constant dutch angles and shots that are extreme close-ups if they’re not 3/4 shots, the frequent fades and overlays, and the majority of the rest of its “old-fashioned” looking techniques date it very firmly after the 1927 cinematography crisis. this broke my immersion, but that just shows a dearth of research or creativity on the cinematographer’s part, falling back on more intuitive relatively modern techniques rather than painstakingly recreating the style of a relatively unfamiliar era.

but my second question, and my second issue, has to do with the research they clearly did do. much of the inspiration for the props and sets very obviously comes from the german expressionists (especially the cabinet of dr caligari (1920)), the surrealists, the futurists, and the modernists. however, i cannot help but feel that this is appropriate within the context of the adaptation. lovecraft was not a german expressionist, nor was he a surrealist, nor a futurist, nor a modernist. in fact, although i cannot say with certainty, i strongly suspect that he would have felt a great disgust for the works of these artists; if his style and worldview were to be translated into film format, the grand and baroque filmmaking of dw griffith would be a more appropriate reference point.

german expressionism, surrealism, futurism, and modernism are all conceptually firmly rooted in the real world, translating concrete concepts through the artist’s emotion—often rather agonized and alienated from the real world by the traumas of their contemporary world—back into concrete objects. the asylum in the cabinet of dr caligari (1920) is a real asylum, and everything else is the real world through the eyes of one of its occupants; the moon in un chien andalou (1929) is the real moon, and everything else is the emotions and associations it stirs in the eyes of the director. by contrast, the unreal of lovecraft’s works are intended to be utterly divorced from reality and human experience—a layman’s reading of expressionist work that denies or does not care for the interiority of the artist. there is a reason why lovecraft was a contemporary of but, to the absolute best of my knowledge, never a part of the surrealist movement, despite modern readers loving to describe his stories as “surreal.”

although this film is certainly able to create a feeling of the uncanny by applying the veneer of 1920s “weird art,” its utter non- or even anti-engagement with the context and intentions of the two styles it fuses renders its own artistic argument nothing but a fairly interesting game piece. this is not to say that the call of cthulhu (2005) is not a fun movie, but due to the choices it makes, it ultimately comes off as fairly shallow

[pmamtraveller]

THE ARTIST’s DREAM | 1900 | by EMIL HOLÁREK

The painting is a captivating exploration of the artist's subconscious mind and creative psyche. It reflects the broader artistic and intellectual movements of the turn of the century, particularly the burgeoning interest in psychology and the unconscious.

The composition is complex, with layers of symbolism and surreal imagery that invite interpretation. At the center of the painting stands the artist himself, depicted in a state of deep contemplation. His gaze is introspective, suggesting a journey into the depths of his own psyche.

Surrounding the central figure are a plethora of symbolic elements that hint at the inner workings of the artist's mind. Strange creatures, fantastical landscapes, and enigmatic symbols populate the canvas, creating a sense of otherworldly wonder. Each element seems to hold a deeper meaning.

One notable aspect is its exploration of the subconscious and the role of dreams in the creative process. By delving into the realm of dreams, HOLÁREK taps into a source of inspiration that transcends rational thought. The painting suggests that the artist's most profound insights and innovative ideas may arise from the depths of his unconscious mind.

The use of symbolism is particularly potent in this work. From the presence of celestial bodies to the juxtaposition of light and shadow, each element contributes to the overall narrative of the painting. Through these symbols, HOLÁREK communicates themes of creativity, spirituality, and the mysteries of human existence.

In conclusion, "ARTIST’s DREAM" is a masterful exploration of the subconscious mind and the creative process. Through its intricate composition and symbolic imagery, EMIL HOLÁREK invites viewers to embark on a journey into the depths of the artist's imagination.

[spaceintruderdetector]

Surrealism: The Road To The Absolute : Anna Balakian : Free Download, Borrow, and Streaming : Internet Archive

[houseofcatwic]

“Object-Phantom” by Toyen Marie Cermínová

[thetryhardaesthete]

My Top 5 Painters 5/5 - Mariusz Lewdanowski They are characterized by an impressive play of light, color, space and contrast. Although the artist titles his paintings, he does not explain their meaning. Thanks to that, you can let your imagination run free, immersing yourself in a reality so different from the one we deal with every day.

[possible-streetwear]

[neoclassicalblobphilosopher]

Girls just wanna be the namesake founder of an artistic movement

[artisticdivasworld]

Surrealism: What it is and How to Use it in Your Art

We are once again going to explore an art movement, called Surrealism, that has impacted all of the art today that we see. We have visited several others, and you can find those here  and here but today, I want to dive into a topic that fascinates many of us in the art world: surrealism. It’s a movement that challenges our perceptions and encourages us to explore the depths of our imagination.…

[sergioguymanproust]

As a modern shaman ,I got my fingers in many pies.Take this pic as an example,I’m a surrealist and this is my Milky Way galaxy.I asked no one about their opinion, I just moved my dial one notch to the left and stayed there. Many art movements began because the elites were bore with so much plagiarism ,and jaded sexual practices. Their late meetings having tried everything under the sun forced artists specially to band together and express their feelings and ideas in paintings . In Europe specially Paris and Germany Belgium and Spain. The fever for the dream interpretation and the juxtaposition with reality grew stronger De Chirico, Dalí, Magritte , Max Ernst were the leaders of this movement. Well,object like smoking pipes, apples, trains, books, and paint brushes among others turned into things they were not, a pipe became a window, a cloud became a top hat ,and so on no rhythm or rhyme.These shock the observers and art critics ,so it was mission accomplished for the painters.A shell with its religious significance did win the approval of many in elite circles , the rest became history.Words by Sergio GuymanProust.

[internationalemeteorologie]

Aryz

El festejo (series). 2022