![]() ![]() ![]() Barr Jr formulated in 1936 – to strive for a collection of publications and artworks by artists in the circle of André Breton, and at the same time establish the broader connection between Surrealism and art history, from Jheronimus Bosch to, say, the art of psychiatric patients and children? Yes, what actually makes Surrealism – irrational, unpredictable, individual, imaginative, cadavre exquis playing, automatic drawing practising, unconventional, ethnographic inspiration seeking and eroticizing Surrealism – so irresistible?Īt that time something new was wanted, and Breton and his circle were at one and the same time social animals and individualists who on the whole did not warm towards the collective style limitation the Modernists stood for. Ebbinge Wubben in the 1960s and 70s to focus the museum’s attention on the south – on Surrealism? Being mindful of the grand definition the American museum director Alfred H. Could Freud ever have imagined that his method would be hijacked by the practitioners of the last great avant-garde ‘ism’ of the twentieth century? Which focused on the subconscious and dug for treasure in the human mind? To the benefit of all? This because of the need for a new world order, the abolition of hierarchy, the revolt against bourgeois attitudes and the reassessment of irrationality and chance – like Dada in reaction to the inhuman events on the battlefields of the First World War?Īnd what then – another shift in time and place – prompted head curator Renilde Hammacher-Van den Brande and director J.C. Sigmund Freud, practising psychoanalyst in Vienna before the First World War and during the interwar years, inventor of the therapy generally known as the interpretation of dreams. ![]() You see Dalí in a film studio that looks like Piet Mondrian’s studio in Paris he tugs at his moustache, points to a Mondrianesque composition on a painter’s easel, looks wide-eyed at the camera and says: ‘Pyet, Pyet? Pyet Nyet!’ Then he turns to the viewer and says charmingly, questioningly: ‘Dalí? Dalí? Dalí Si!’ What prompted Dalí, hardly deprived of fame or attention himself, to ridicule Mondrian, one of the greatest artists of the twentieth century, in such a grotesque way more than fifteen years after his death?Īnother question. In the early 1960s Salvador Dalí made a video with the photographer Philippe Halsman. This is a rather tricky foreword, something of a cadavre exquis, full of questions that are not that easy to answer. ![]()
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