Surrealism in the arts
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In general usage, the term Surrealism is more often considered a movement in visual arts than the original cultural and philosophical movement. As with some other movements that had both philosophical and artistic dimensions, such as romanticism and minimalism, the relationship between the two usages is complex and a matter of some debate outside the movement. Many Surrealist artists regarded their work as an expression of the philosophical movement first and foremost, and Breton was explicit in his belief that Surrealism was above all a revolutionary movement. In addition, many surrealists and surrealist documents have declared that surrealism is not an artistic movement for a number of additional reasons, among which is the conception of the "artistic" manifestations of surrealism as just one form of manifestation among many, various conceptions of visual work being created which somehow "goes beyond" traditional conceptions of art or aesthetics, or even the complete cessation of creative visual production. In addition, the art object/product — while an important part of the Surrealist process — is viewed as merely a "souvenir" of a vastly more critical journey, interesting only in so far as it is revelatory of that adventure.
[edit] Surrealism in visual arts
[edit] Early visual arts Surrealism
Since many of the initial participants in Surrealism originated in the Dada movement, a strict demarcation of Surrealist and Dadaist theory and practice can be difficult to draw, although Andre Breton's statements on the matter leave no doubt of his own clarity on that boundary. Outside the "inner circle" (i.e. in the Academy), this imaginary line is sketched differently by different scholars.
The roots of Surrealism in the visual arts run to both Dada and Cubism, as well as the abstraction of Wassily Kandinsky and Expressionism, as well as Post-Impressionism, and also partake of older "bloodlines" such as Hieronymous Bosch, and so-called "primitive" and "naive" arts. This only makes sense if one considers Surrealism to be a matter of art, when both Dadaists and Surrealists themselves rejected the notion without hesitation. Dada - especially - declared loudly and often that it was out to destroy art, and Surrealism - although less brutish in its campaign against art-in-itself, made clear its resistance to any idea that it was - in fact - an "art movement" at all. Technique was beside the point, mere ornament or simple retinal stimulation was anathema, as the Surrealists claimed visual arts as a subsidiary of Poetry, and hoped to inflame human desires directly via their images. The fact that the first Surrealists were not visual artists but poets speaks volumes about the poetic and philosophical basis of Surrealism. The truth is, Andre Breton initially had doubts that visual arts could even be useful in the Surrealist Movement, since they appeared to be less "malleable" and open to chance and automatism. This "caution" was overcome by the discovery of such "techniques" as frottage, decalomania, and Dali's own paranoid-critical methods. As the idea of automatism lost sway as the main vehicle for unlocking the unconscious, the visual arts (including sculpture, painting, and film) became more acceptable.
Masson's automatic drawings of 1923, are often used as a convenient point of difference, since these reflect the influence of the idea of the unconscious mind.
Another example is Alberto Giacometti's 1925 Torso, which marked his movement to simplified forms and inspiration from pre-classical sculpture. However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Von minimax dadamax selbst konstruiertes maschinchen with Le Baiser from 1927 by Max Ernst. The first is generally held to have a distance, and erotic subtext, where as the second presents an erotic act openly and directly. In the second the influence of Miró and Picasso's drawing style is visible with the use of fluid curving and intersecting lines and colour, where as the first takes a directness that would later be influential in movements such as Pop art.
Giorgio de Chirico was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between 1911 and 1917, he adopted an unornamented depictional style whose surface would be adopted by others later. La tour rouge from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His 1914 La Nostalgie du poete has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief defies conventional explanation. He was also a writer. His novel Hebdomeros presents a series of dreamscapes, with an unusual use of punctuation, syntax and grammar, designed to create a particular atmosphere and frame around its images. His images, including set designs for the Ballet Russe, would create a decorative form of visual Surrealism, and he would be an influence on the two that would be even more closely associated with Surrealism in the public mind: Dalí and Magritte.
In 1924, Miro and Masson applied Surrealism theory to painting explicitly leading to the La Peinture Surrealiste Exposition at Gallerie Pierre in 1925, which included work by Man Ray, Masson, Klee and Miró among others. It confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), techniques from Dada, such as photomontage were used.
Galerie Surréaliste opened on March 26, 1926 with an exhibition by Man Ray.
Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s.
[edit] 1930s
Dalí and Magritte created the most widely recognized images of the movement. Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935.
Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer.
1931 marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's La Voix des airs is an example of this process, where three large spheres representing bells hanging above a landscape. Another Surrealist landscape from this same year is Tanguy's Palais promontoire, with its molten forms and liquid shapes. Liquid shapes became the trademark of Dalí, particularly in his The Persistence of Memory, which features the image of clocks that sag as if they are melting.
The characteristics of this style: a combination of the depictive, the abstract, and the psychological, came to stand for the alienation which many people felt in the modern period, combined with the sense of reaching more deeply into the psyche, to be "made whole with ones individuality".
Long after personal, political and professional tensions broke up the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. This program reached beyond painting, to encompass photography as well, as can be seen from a Man Ray self portrait, whose use of assemblage influenced Robert Rauschenberg's collage boxes.
During the 1930s Peggy Guggenheim, an important art collector married Max Ernst and began promoting work by other Surrealists such as Yves Tanguy and the British artist John Tunnard. However, by the outbreak of the Second World War, the taste of the avant-garde swung decisively towards Abstract Expressionism with the support of key taste makers, including Guggenheim, Leo Steinberg and Clement Greenberg. However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during WWII. In particular, Arshile Gorky influenced the development of this American art form, which — as Surrealism did — celebrated the instantaneous human act as the well-spring of creativity. The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of Dadaistic humor in such artists as Rauschenberg sheds an even starker light upon the connection. Up until the emergence of Pop Art, Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism.
[edit] World War II and beyond
The coming of the Second World War proved disruptive for surrealism. The works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. (In 1960, Magritte, Duchamp, Ernst, and Man Ray met in Paris.) While Dalí may have been excommunicated by Breton, he neither abandoned his themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive "pompier". His classic period did not represent so sharp a break with the past as some descriptions of his work might portray, and some, such as Thirion, argued that there were works of his after this period that continued to have some relevance for the movement.
During the 1940s Surrealism's influence was also felt in England and America. Mark Rothko took an interest in biomorphic figures, and in England Henry Moore, Lucian Freud, Francis Bacon and Paul Nash used or experimented with Surrealist techniques. However, Conroy Maddox, one of the first British Surrealists, whose work in this genre dated from 1935, remained within the movement, organizing an exhibition of current Surrealist work in 1978, in response to an earlier show which infuriated him because it did not properly represent Surrealism. Maddox's exhibition, titled Surrealism Unlimited, was held in Paris, and attracted international attention. He held his last one-man show in 2002, dying three years later.
Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in 1951's Personal Values and 1954's Empire of Light. Magritte continued to produce works which have entered artistic vocabulary, such as Castle in the Pyrenees, which refers back to Voix from 1931, in its suspension over a landscape.
Other figures from the Surrealist movement were expelled. Several of these artists, like Roberto Matta (by his own description) "remained close to Surrealism."[citation needed]
Many new artists explicitly took up the Surrealist banner for themselves. Duchamp continued to produce sculpture and, at his death, was working on an installation with the realistic depiction of a woman viewable only through a peephole. Dorothea Tanning and Louise Bourgeois continued to work, for example, with Tanning's Rainy Day Canape from 1970.
Surrealistic art remains enormously popular with museum patrons. The Guggenheim Museum in New York City held an exhibit “Two Private Eyes” in 1999, In 2001 Tate Modern held an exhibition of Surrealist art that attracted over 170,000 visitors in its run. In 2002 the Metropolitan Museum in New York City had a blockbuster show “Desire Unbound,” and the Centre Georges Pompidou in Paris had a show called La Revolution Surrealiste.”
In Europe and all over the world since the 1960’s artists around the world have combined surrealism with a classical 16th century technique called “Misch” rediscovered by Ernst Fuchs, a contemporary of Dali, and now practiced and taught by many followers, including the highly regarded Robert Venosa, and also Chris Mars who has recently exhibited at major museums. The former curator of the San Francisco Museum of Modern Art Michael Bell has called this style of surrealism “Veristic Surrealism”. Veristic Surrealism, depicts with meticulous clarity and often in great detail a world analogous to the dream world.
Having been one of the most important of movements in the Modern period, Surrealism proceeded to inspire a new generation seeking to expand the vocabulary of art. Today, one of the largest and most dynamic art movements is Surrealism composed of surrealist and visionary artists. According to Terrance Lindall, in Art and Antiques Magazine March 2006, it incorporates many variations including Surreal/conceptual, Visionary, Fantastic, Symbolism, Magic Realism, the Vienna School, Neuve Invention, Outsider, the Macabre, Grotesque, and Singulier Art, among others. To prove the scope of the movement, Lindall wrote a “New International Surrealist Manifesto” and created the show “Brave Destiny” at the Williamsburg Art & Historical Center in 2003, expressing this broad notion of surrealism as an artistic style. The show, the largest Surrealist show ever held, incorporated nearly 500 artists from every continent and opened with a “Grand Surrealist Costume Ball,”
in the tradition of Surrealist balls put on by the Baroness de Rothschild up until the death of Dali. Many people, including European nobility, flew in from around the world for the one night event, stopping traffic crossing the bridge from Manhattan, demonstrating the scope of today’s surrealism and its attraction.
[edit] Surrealism in literature & as a school of poetry
The first surrealist work, according to Breton, was Les Champs Magnétiques (1921 “Magnetic Fields”), which was actually a collaboration with the French poet and novelist Philippe Soupault. But even before that, in 1919, Breton, Soupault and Aragon had already published the magazine Littérature, which contained automatist works and accounts of dreams. The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones, the poetic undercurrents present. Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which “exist in ambiguous relationships to the visual images.”
Because surrealist writers seldom (if ever) appear to organize their thoughts and the images they present, some people find much of their work difficult to "parse". This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. But — as in Breton's case itself — much of what is presented as purely automatic is actually edited and very "thought out". Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since "automatic painting" required a rather more strenuous set of approaches. Thus such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in Pierre Reverdy's poetry. And — as in Magritte's case (where there is no obvious recourse to either automatic techniques or collage) the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism was meant to be always in flux — to be more modern than modern — and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose.
Surrealists revived interest in Isidore Ducasse, known by his pseudonym “Le Comte de Lautréamont” and for the line “beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella”, and Arthur Rimbaud, two late 19th century writers believed to be the precursors of Surrealism.
Examples of surrealist literature are René Crevel's Mr. Knife Miss Fork, Louis Aragon's Irene's Cunt, André Breton's Sur la route de San Romano, Benjamin Peret's Death to the Pigs, and Antonin Artaud's Le Pese-Nerfs.
[edit] Surrealism in theater and dance
Surrealist theater depicts the subconscious experience, moody tone and disjointed structure, sometimes imposing a unifying idea. [1]
Artaud rejected Western theatre as a perversion of the original intent of theatre, which should be a religious and mystical experience. He thought that rational discourse comprised "falsehood and illusion," which embodied the worst of discourse. Artaud wanted to create a new form of theater that would be immediate and directly understandable, linking the unconscious minds of the actors and the spectator, a sort of “ritual event.” [2] Examples are The Theatre of the Absurd whose inspiration comes from silent film and comedy, as well as the tradition of verbal nonsense in early sound film (Laurel and Hardy, W C Fields, the Marx Brothers). The Theatre of the Absurd creates a ritual-like, mythological, archetypal, allegorical vision, closely related to the world of dreams. [3]
Today, one of the most important writers and directors of this form of Surrealist theatre is Peter Dizozza, creator of Cinema VII productions[4], a media collective, which can be seen at such prestigious venues as LaMaMa Theater [5] in Manhattan. LaMaMa productions have also included “The Little Elephant is Dead” by Kobo Abe . Kobo,[6] was banned from the USA for being a member of the Communist Party, but managed to sneak into the country to oversee his production at LaMaMa. He is best known for the concept in the award winning Hiroshi Teshigahara film "Lady in the Dunes." Today, Dizozza’s works can be seen at the Williamsburg Art & Historical Center, in the "emerging art capital of the world"[7]; Williamsburg, Brooklyn. Cinema VII plays include works such as "The Marriage at the Statue of Liberty" (after Cocteau), "The Last Dodo," "The Golf Wars," "The Eleventh Hour" and “Prepare to Meet Your Maker,” a surrealist work inspired by Religious mystery plays of the 16th century depicting the meeting of a corpse, Cemeteria, and a gravedigger, Quasimodo, who, through contact with one another, are both invigorated and revitalized. Dizozza is also the Director of the International Surrealist Film Festival [8] and Director of the WAH Theater.
In dance, Japanese Butoh, created, as a reaction to the psychically debilitating conditions right after Hiroshima and WWII is a surrealist expression being extensively practiced today. As Dan Hermon, webmaster of Butoh Net says, Butoh is “… as much as from the mind in a way similar to how a pastry chef uses a paper cone to direct the icing onto a cake.” Some notable dancers of the West include Zack Fuller, Eiko & Koma and Jeff Janishefski.
[edit] Surrealism in comedy
- Main article: Surreal humour.
Some branches of comedy (mostly British) are very surreal. Some examples include:
- Q (TV series)
- The Goon Show
- Monty Python
- The Goodies
- The Young Ones (TV series)
- Reeves and Mortimer
- The Firesign Theatre
- FLCL
[edit] Surrealism in music
- Main article: Surrealism (music).
In the 1920s several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Among these were Bohuslav Martinů, André Souris, and Edgard Varèse, who stated that his work Arcana was drawn from a dream sequence. Souris in particular was associated with the movement: he had a long, if sometimes spotty, relationship with Magritte, and worked on Paul Nouge's publication Adieu Marie.
French composer Pierre Boulez wrote a piece called explosante-fixe (1972), inspired by Breton's mad love.
Germaine Tailleferre of the French group Les Six wrote several works which could be considered to be inspired by Surrealism, including the 1948 Ballet "Paris-Magie" (scenario by Lise Deharme, who was closely linked to Breton), the Operas "La Petite Sirène" (book by Philippe Soupault) and "Le Maître" (book by Eugène Ionesco). Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s.
Even though Breton by 1946 responded rather negatively to the subject of music with his essay Silence is Golden, later Surrealists have been interested in—and found parallels to—Surrealism in the improvisation of jazz (as alluded to above), and the blues (Surrealists such as Paul Garon have written articles and full-length books on the subject). Jazz and blues musicians have occasionally reciprocated this interest. For example, the 1976 World Surrealist Exhibition included such performances by Honeyboy Edwards.
Surrealists have also been influenced by reggae and, later, Electronic/noise music with the likes of Merzbow, rap and some rock or pop bands such as The Psychedelic Furs. In addition to musicians who have been influenced by Surrealism (including some influence in rock—the title of the 1967 psychedelic Jefferson Airplane album Surrealistic Pillow was obviously inspired by the movement), such as the experimental group Nurse With Wound (whose album title Chance meeting on a dissecting table of a sewing machine and umbrella is taken from a line in Lautreamont's Maldoror). Surrealist music has included such explorations as those of Hal Rammel. More importantly, the ideas of chance have been used by such modern musical artists as David Bowie, Brian Eno, and Rozz Williams who, in turn, have sometimes mentioned either Dadaists or Surrealists in their work. An example of modern surrealism or neosurrealism would be Mark Murex, who has coined the term Psychoxenic Surrealism in art, and a form of music coined Xenotrance; an auditory artform based on the fundamentals of surrealism, but more so rooted in psychology and archetypes of human unconscious and the metaphysical aspects of psychoactives on the psyche implemented through auditory experimentation.
[edit] Surrealism in the media
[edit] Surrealism in film
Surrealist films include Un chien andalou and L'Âge d'Or by Luis Buñuel and Dalí; Buñuel went on to direct many more, with varying degress of surrealism. Notable for surrealism amongst Bunuel's later films are The Discreet Charm of the Bourgeoisie, The Exterminating Angel, and Belle de Jour.
There is a strong surrealist influence present in Alain Resnais's Last Year at Marienbad.
Surrealist and film theorist Robert Benayoun has written books on Tex Avery, Woody Allen, Buster Keaton and the Marx Brothers.
Many have described David Lynch as a Surrealist filmmaker. For a examples of surrealism in his work, see Eraserhead or Mulholland Drive.
Alejandro Jodorowsky sought to revive surrealism in his films The Holy Mountain and El Topo.
Terry Gilliam is considered a Surrealist filmmaker, with his films such as Brazil, Time Bandits, 12 Monkeys and The Fisher King.
Czech filmmaker Jan Svankmajer has also made a number of surrealist films.[9]
The truest aspects of Surrealism in film are often found in passing frames of a larger film; the sudden emergence of the uncanny into the "normal" which may or may not be further explored in the rest of the film. The original group spent hours going from film to film, often not finishing one before seeking another, partly in hopes of catching just such ephemeral moments, and partly with the idea of "stitching together" a film in their own minds out of the disparate parts.
Jan Bucquoy with the movie Camping Cosmos (1996), André Delvaux (the latter in the tradition of the magic realism with the movie Un Soir, un Train (1968)) and Marcel Mariën with the controversial L'imitation du cinéma (1959), are representatives of the Belgian surrealist school in cinema.
The animated surrealist filmmakers Hayao Miyazaki and Isao Takahata began to have broad international influence in the 1970s. Miyazaki’s themes of magical terrains and nature vs. man have influenced new Pop Surrealist fine artists around the world.
More recently. award winning filmmakers at Peter Dizozza’s International Surrealist Film Festival have included Amy Greenfield's "Wildfire" (Eclipse Productions), a new film by Matthew Gray Gubler "The Cactus that Looked Like a Man," Lauren Hartman's "PHANT," and Susan Ingraham's "GoescarGo."
[edit] Surrealism in television
Some have found the television series The Prisoner and Aeon Flux to be of Surrealist interest.
Tex Avery cartoons originated on film in the 1930s and 1940s, but millions more know his famous characters from Saturday morning cartoons replayed during the 1970s: Bugs Bunny, Daffy Duck, etc.
Another Looney Tunes animator, Robert Clampett, was renowned for his surrealistic style in both story and visuals. Especially notable are The Great Piggy Bank Robbery and Porky in Wackyland.
[edit] Surrealism in comics
The influence of surrealism in commercial mass media can be seen in comics starting with Winsor McCay’s masterpiece “Little Nemo in Slumberland.” In Europe, the surrealist adult fantasy magazine Metal Hurlant, aka Heavy Metal Magazine, appeared in the 1970s. Japanese comic surrealism (Manga) has been around for ages. And all of the superheroes of American comics can be thought of as surrealistic expression of desire.
[edit] Surrealism in the Computer Age
In Williamsburg Brookly], WIGGLISM, a form of Massurrealism, was developed, based on Ebon Fisher's "Nerve Circle" media rituals over the internet wherein numerous individuals participate in a cyborg multimedia culture, creating a new life form he called “Wigglism.” The idea started when he was teaching and studying at MIT's Media Lab in the mid-80's. He says, “The essence of the project is to abandon the discourse of "art" (a humanist creature) and redefine cultural activity as an act of creating vital life forms (an ecological & post-humanist creature). “
Another artist, again out of Williamsburg Brooklyn, who creates unique surrealist hybrids using modern technology, is Disney Nasa Borg, who says, “ I am inspired by my pursuit to visualize and create the possible aesthetics of wireless data, the invisible complex systems of overlapping networks. I envision and focus on reinterpreting the chaotic, swirling vortexes of clusters of data spewing from cell phone antennas. “
Meanwhile web-sites abounding have sprung up all over the world, some claiming to represent groups, other which try to list all of the surrealist artists who have lived and are living now. The number of living artists claiming to be surrealist is beyond count. Not all are great, but the testimony to a “living” surrealism is concrete.
[edit] The Surrealist/conceptual revolt against the post-modern avant-garde and the marketplace “whorehouse” of the galley/museum world
Enrico Pedrini, conceptual/surrealist Italian theoretician and curator, who wrote a thesis on “Irreversibility and the Avant-garde,” created a show by placing books on physics on pedestals in an empty room. This was a show of art without the artist. “It is the inevitable end of the progress and overcoming represented by the avant-garde in art,” he said, “…the artist is no longer in the picture.” This is because each new avant-garde star of the moment will be superseded by the next avant-garde with absolute immediacy. And the “progress” it represents is happening faster and faster.” The newest artist and his work must immediately be disregarded and placed in the dustbin of history because behind him is the new avant-garde with a show ready to go up.
One of the most controversial surrealist movements of the 21st century, however, is the conceptual/surreal Offal Movement founded by Offalist Breuk Iversen, who created a show in which money was sold for half-price. One Thousand dollars was on sale for less than half price. $1 bills will sell for $0.49, $5 bills for $2.49, $10. bills for $4.99, and finally $20 bills for $9.99 each. Who can resist buying money for 1/2 price? Art has gone the way of the market. Marketing is art and art is marketing.
Thus, the new surrealist artists are a broad and inclusive social/artistic fabric working in new and old media, spanning the world in every language and on every continent.
[edit] See also
Techniques, games and humor
[edit] External links
Academic resources/'Classical' Surrealism:
- Manifesto of Surrealism by André Breton. 1924.
- (French) Surrealism
- What is Surrealism? Lecture by Breton, Brussels 1934
- The Surrealism Server
- The Surrealist Movement in Serbia +
- The radical politics of Surrealism, 1919-1950 — an article looking at Surrealism and Surrealists' connections to anarchist, socialist and working class politics
- Franz Kafka and Marcel Proust, the 2 Albums, "recomposed photographs", in a rather surrealist spirit.
Surrealist Art Resources and Information:
Surrealist Humor/Comedy:
| Modernism | |
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[edit] References
[edit] Sources
- André Breton, Manifestoes of Surrealism containing the 1st, 2nd and introduction to a possible 3rd Manifesto, and in addition the novel The Soluble Fish and political aspects of the Surrealist movement. ISBN 0-472-17900-4 .
- What is Surrealism?: Selected Writings of André Breton. ISBN 0-87348-822-9 .
- André Breton, Conversations: The Autobiography of Surrealism (Gallimard 1952) (Paragon House English rev. ed. 1993). ISBN 1-56924-970-9 .
- André Breton. The Abridged Dictionary of Surrealism, reprinted in:
- Marguerite Bonnet, ed. (1988). Oeuvres complètes, 1:328. Paris: Éditions Gallimard.
Other sources
- Guillaume Appollinaire (1917, 1991). Program note for Parade, printed in Oeuvres en prose complètes, 2:865-866, Pierre Caizergues and Michel Décaudin, eds. Paris: Éditions Gallimard.
- Gerard Durozoi, History of the Surrealist Movement (translated by Alison Anderson, University of Chicago Press). 2004. ISBN 0-226-17411-5 .
- Brotchie, Alastair and Gooding, Mel, eds. A Book of Surrealist Games Berkeley, CA: Shambhala (1995). ISBN 1-57062-084-9 .
- Lewis, Helena. Dada Turns Red. Edinburgh, Scotland: University of Ednburgh Press, 1990.
- Moebius, Stephan. Die Zauberlehrlinge. Soziologiegeschichte des Collège de Sociologie. Konstanz: UVK 2006. (About the College of Sociology, its members and sociological impacts).
- Maurice Nadeau, History of Surrealism (Cambridge, Mass.: Belknap Press, 1989). ISBN 0-674-40345-2 .
- Redfield, S.: Creativity Tank. [10].
- Alexandrian, Sarane. Surrealist Art London: Thames & Hudson, 1970.
- Melly, George Paris and the Surrealists Thames & Hudson. 1991.
- Lewis, Helena The Politics Of Surrealism 1988
- Caws, Mary Ann Surrealist Painters and Poets: An Anthology 2001 MIT Press
