And in this he will succeed simply by allowing himself to be moved by the immense word which dissolves into pity and revolves in hate. But the bureau was anything but a simple place for accomplices to gather, even if their affinity was confirmed daily by the communication of dreams and fantasies and by shared laughter, spontaneous exchange, and the joy of the ongoing discovery: the bureau, like the Manifeste or La Révolution surréaliste, also served a strategic purpose. I took swift note of it, and prepared to move on, when its organic nature struck me. I had begun to cherish words immoderately for they space they admit around them, for their tangencies with a host of other words I did not utter. There are happy turns of phrase that I have thus become familiar with. The main topics were: a radical ideological change, institutional criticism politics, religion, military , surveys about taboo issues.
But their profound indifference to the way in which we judge them, and even to the various punishments meted out to them, allows us to suppose that they derive a great deal of comfort and consolation from their imagination, that they enjoy their madness sufficiently to endure the thought that its validity does not extend beyond themselves. No more does the material which he is obliged to encumber himself with: his glass tubes, or my metallic feathers. The agonizing question of possibility does not arise. These are two completely flat images. From our point of view they exist in the same space, even if from their point of view they may be spread apart. I repeated them to myself slowly, word by word; they were excellent. The tough part is realizing when a piece just doesnt work and figuring out how to make the ideas read more clearly.
And one will achieve this merely by allowing oneself to be elevated by the vast word which melts with pity and spins with hatred. Some of the greatest artists of the 20th century became involved in the Surrealist movement, and the group included Giorgio de Chirico, Man Ray, René Magritte, and many others. This gives the illusion that they are spilling on to our laps. It is living and ceasing to live which are imaginary solutions. I shall always understand myself. This idea, this woman, disturb it, they tend to make it less severe. And I will vanquish you with Goodness and Love.
I shall even go so far as to state that it instructs me and, indeed, it has happened on occasions that I have employed surreally words whose meaning I have forgotten. There are not other elements that competes with them. They are Villon's gibbets, Racine's Greeks, Baudelaire's couches. Among Breton's close collaborators, reactions were obviously very different. A few of my friends are living here as permanent guests: there is Louis Aragon leaving; he only has time enough to say hello; Philippe Soupault gets up with the stars, and Paul Eluard, our great Eluard, has not yet come home.
Poetically speaking, they are especially endowed with a very high degree of immediate absurdity. Discours sur le Peu de Réalité 1927 Language has been given to Man so that he can make surrealist use of it. He locates scenes where we are shown a series of doorways, windows, or even full rooms. The scenes in Japan, Italy, and France all show us the side view of a box with figures inside the frame. The most famous authors would be included. Do dreams explicitly harbor the causes of our preferences and our desires? As one of the few female Surrealist artists, Carrington made a distinct and lasting impression in the 1940s while showing work at the Pierre Matisse Gallery in New York and international exhibitions of Surrealist artists. The sentences continued to well up within me, I was pregnant with my subject.
Anything marvellous is beautiful, in fact only the marvellous is beautiful. Artists such as Salvador Dalí, Yves Tanguy, and René Magritte painted in a hyper-realistic style in which objects were depicted in crisp detail and with the illusion of three-dimensionality, emphasizing their dream-like quality. The forms of Surrealist language adapt themselves best to dialogue. Between 1925 and 1930 another journal was published, called El Surrealismo al servicio de la Revolución, in which among others Max Ernst, Luis Buñuel and Salvador Dalí declared themselves supporters of Breton. If man's awakening is harsher, if he breaks the spell too well, it is because he has been led to form a poor idea of expiation.
It is not the fear of foolishness that compels us to leave the banner of imagination furled. Instead of announcing the appearance of a new school or trend in the arts as the futurist or Dada manifestos had done , it validated the ambitions that for some time had already been those of Breton and his close circle. What changes would you like to see in the world? Just because the photographer shoots a scene with great depth will not guarentee that it will read. This imagination which knows no bounds is henceforth allowed to be exercised only in strict accordance with the laws of an arbitrary utility; it is incapable of assuming this inferior role for very long and, in the vicinity of the twentieth year, generally prefers to abandon man to his lusterless fate. On the evidence of his discoveries a current of opinion is at last developing which will enable the explorer of the human mind to extend his investigations, since he will be empowered to deal with more than merely summary realities. It falls to him alone to belong to himself completely, that is to maintain the host of his desires, daily more formidable, in a state of anarchy.
Events will not tolerate deferment. In 1923, painters Joan Miró and André Masson met and became involved with Breton. There is no conversation in which something of this disorder does not appear. One can even go so far as to say that in this dizzying race the images appear like the only guideposts of the mind. In those days, a man, at least as boring as I, Pierre Reverdy, wrote: The image is a pure creation of the mind.