Another surrealist, Max Erst, also pursues with his works what could be defined as a certain paleontology of dreams, an imitation of the search for spatial analogies in the subconscious in superposed paintings that suggest an incrustation of beings ,corpses that have come to the surface, unearthed by a progressive destruction of the world. Erst in his painting “Europe after the rain(1940-42)” the surrealist technique He learned with Óscar Domínguez of decalcomania, “Decal”, reveals a whole catalogue of immemorial remains, only visible in our subconscious. Fossils manifested in another register by Remedios Varo, also a surrealist, through works such as” El Flautista” (1955) which, according to Sue Taylor (5) "represents an orphic flute player, with a face of mother-of-pearl, who is enchanting fossilised rocks that rise from the sky,who is enchanting fossilised rocks rising from the grassy ground, ascending from the grass-covered ground, ascending into the ether, to be assembled into the construction of a ziggurat. In this representation, we can recognise Ouspensky’s idea of the harmony of the world (6), as well as the ancient notion that music can relate and organise everything that exists, both ideas that inspire Varo’s artistic conceptions of art, science and nature. Yet another surrealist, Paul Éluard, said that “it was necessary to search for a cataclysm in ancient times to understand modern times”. Perhaps the best image to illustrate this proposal is that one of the personal universe of his fellow painter Yves Tanguy A perfectionist and peculiar painter whose paintings were set in imaginary landscapes, dreamlike, twisted and bizarre landscapes, full of detail and nuanced by the shadows typical of De Chirico whose work inspired Tanguy to start painting without any previous training. It was called organic surrealism by them, with mouldable, undulating forms that seem to change state and imitate fossilised unicellular beings. In the words of Virginia Tovar (7) “they are landscapes that Argan has called anti-nature, because they have nor light neither sun, no horizon line or clear definition between sky and land or between sea and land. The imprint of Chirico is very strong: it is from him that the vastness of the scene and the meticulous representation of things come.
G. de Chirico. “Los Arqueólogos”, 1931