andremasson-blog

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Bibliography

L. M. Sapphire, André Masson (New York: Lerner-Heller Galleries, 1973

Whitney Chadwick, "Masson's Gradiva: The Metamorphosis of a Surrealist Myth," Art Bulletin 52, 4 (December 1970)

William Jeffett, ed., André Masson: The 1930s (St. Petersburg, Fla.: Salvador Dalí Museum, 1999)

Artforum International; April 1996, Vol. 34, p102-103, 2p

McCloskey, Barbara. Artists of World War II. London: Greenwood Press, 2005, ISBN 0313321531

Oisteanu, Valery (May 2012). "The Mythology of Desire: Masterworks from 1925 to 1945"                                                                                                             Armel Guerne « André Masson ou les autres valeurs, 2007.André Masson,La Mémoire du monde, Genève, Skira, 1974 (entretiens avec Gaétan Picon).   André Masson, Le Vagabond du surréalisme, entretiens avec Gilbert Brownstone, Paris, éd. Saint-Germain-des-Près, 1975.                                André Masson,  Le Rebelle du Surréalisme, Paris, éd. Hermann, éd. 1976, (anthologie établie par Françoise Levaillant). Réédition en 1994.                   André Masson, Les Années surréalistes. Correspondance 1916-1942, Lyon, La Manufacture, 1990 (édition établie et présentée par Françoise Levaillant, d’après le Doctorat de F. Levaillant, André Masson : Lettres choisies 1922 - 1942, Université de Paris I, Panthéon-Sorbonne, 1986).                                André Masson, "Dissonances", An Anthology from X(Oxford University Press 1988); "X magazine", Vol. I, No. III (June 1960)                                          Florence de Mèredieu André Masson, les dessins automatiques, Blusson, 1988.                                                                                                           Stephan Moebius Die Zauberlehrlinge. Soziologiegeschichte des Collège de Sociologie , Konstanz, 2006.                                                                       Bernard Noël,André Masson, la chair du regard, Paris, Gallimard ‘coll. l'art et l'écrivain’, 1993.

René Passeron André Masson et les puissances de signe , Denoël 1975. José Pierre,L’Aventure Surréaliste autour d’André Breton, Paris, éd. Filipacchi, 1986. Clark V. Poling,André Masson and the surrealist self, New Haven & London, Yale university press, 2008.

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Ophelia André Masson Oil on canvas,44 3/4 x 57 3/4 in.,1937 Baltimore Museum of Art

Ophelia is an example of Surrealist art produced by Andre Masson in 1937. This work of art is an example of Masson’s use of scenery to depict the ideas behind surrealism including life, death, conflicts in the physical world, as well as a unique relation to a famous sixteenth century tale. While portraying these concepts, his style has not fully developed into the one subject works we see later in his life, but rather are still scenes tossed in confusion.

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Mannequin with Birdcage Masson, André 1938 SAIC Art & Art History Visual Resources Collection

Photographed by Raoul Ubac, André Masson’s Mannequin (1938) was one of sixteen artist-decorated dress-shop dummies on view at the 1938 Paris Exposition Internationale du Surréalisme. Probably the most well-known mannequin of the infamous installation, the head of Masson’s dummy is framed in a wicker bird-cage. Nearby, in the same area devoted to the “Mannequin,” a theme addressed ubiquitously in countless surrealist works, Hans Bellmer’s dismembered Poupée (1936) is on view. While both works symbolically objectify and victimize the female ‘body,’ Bellmer’s disturbing Poupée, unlike Masson’s somewhat playful Mannequin, darkly insinuates sexual torture and murder. 

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In Honor of the Volcano Masson, André Collage and oil, 1941 SAIC Art & Art History Visual Resources Collection, private collection

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Bacchanal (Bacchanale) André Masson 90x74cm, Oil on canvas,1933 Collection: Réunion des Musées Nationaux (RMN) Repository: Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France

a highly charged, dazzlingly colored work which represents one of Masson’s most successful themes, that of Greek mythology. Representing a seminal moment in the artist’s career, the exuberant style of this painting embodies his unique approach—specifically his integration of color, line and form in a style that is at once figurative and abstract.