Fia Hudson

RE AL Surrealism, The Seeds of Modernism

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SEEDS OF MODERNISM

Bauhaus Archive Berlin Museum of Design

By James Volks & Susan Harrison

Developments of design history, 1830-1950

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RE AL Surrealism, The Seeds of Modernism

SEEDS OF MODERNISM

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Surrealism, The Seeds of Modernism

CONTENTS 6

01.

02.

03.

04.

Surrealism, The Seeds of Modernism

Introduction to Surrealism. pg.01

Salvador Dali.

Rene Magritte. pg.07

Max Ernst. pg.45

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pg.27

Endmatter pg.57

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Surrealism, The Seeds of Modernism

Toyen, La Guerre, 1945

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Surrealism, The Seeds of Modernism Introduction to Surrealism

01.

INTRODUCTION TO SURREALISM

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Surrealism, The Seeds of Modernism Introduction to Surrealism

Surrealism is an art movement that began in 1924 through 1966. It is believed to be heavily influenced by the earlier art movement Dada ”it has often been presented as the positive, creative counterpart of Dada”(Aspley, 2010). One of the major differences between the two movements is that while members of the Dada movement were focused and passionate about the rejection of modern capitalist society and were very political, the members

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of the surrealist movement were more focused on the awareness and recognition of the subconscious mind and dreams, rather than reality (Angie Kordic, 2014). Though surrealism in itself is an art movement it originated in literature by Andre Breton, a french poet and writer. Breton wrote and published the Manifesto of Surrealism in 1924, in which he spoke about the unconscious and the conscious mind merging, and dreams and real life

Surrealism, The Seeds of Modernism Introduction to Surrealism

they saw beauty in the unexpected and strange and were heavily influenced by this (Tate.org.uk). The movement itself was a reaction to culture and politics in society in Europe after World War 1, which its members blamed on rationalism (The Editors of Encyclopaedia, 2020). I personally find this movement one of the most unique and eye-catching as it captures everyday objects being manipulated and sculpted by the imagination.

becoming one, “an absolute reality, a surreality”(Breton, 1924). The name ‘Surrealism’ came from a subtitle of a 1917 play by an art critic named Guillaume Apollinare (Angie Kordic, 2014). The name of this movement reflects the art itself as its appearance could be described as strange, peculiar or maybe even sublime. Surrealists strongly believed in the power of the imagination and the subconscious,

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Surrealism, The Seeds of Modernism Introduction to Surrealism

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Surrealism, The Seeds of Modernism Introduction to Surrealism

“I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality,

a surreality,

if one may so speak.”

—Andre Breton 05

Surrealism, The Seeds of Modernism Introduction to Surrealism

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Surrealism, The Seeds of Modernism Rene Magritte

02.

RENE MAGRITTE

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

“Everything we see hides another thing, we always want to see what is hidden by what we see, but it is impossible”

Rene Magritte was Belgian artist famously known for his role in the Surrealist movement. Magritte was born in 1898 and died in 1967, it wasn’t until he was in his 50’a that he began to receive recognition for his work. Magritte decided to attend and stayed at the Acdemie des Beaux-Art in 1916 until 1918. During this time he produced paintings that were heavily influenced and reflect Cubism which was a popular movement at the time.

In 1927 Magritte had his first exhibition in the Galerie la Centauri in Bressules. Magritte previous to the showing had been producing a vast collection of paintings which resulted in a wide range of work being show casted. The exhibition proved to be a failure due to critics abuse on the work. The failure of the exhibition led to Magritte moving to Paris where he met and became friends with Andre Breton, the founder of Surrealism.

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Surrealism, The Seeds of Modernism Rene Magritte

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Rene Magritte, The Lovers, 1928

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

Rene Magritte, The Son of Man, 1964

The self portrait belongs to a series of paintings by Rene Margritte, the other two paintings being The Great War of Facades, 1964, and Man in Bowler Hat, 1964. All paintings in this series are oil on canvas, though only two are self portraits of Rene Magritte as The Great War of Facades consists of a woman with her face being covered by a flower.

The Son of Man (fig.2) consists of a man in a formal dress coat and a bowler hat with a large green apple floating in front of his face concealing any features but the side of his eyes. I think the painting represents Margrittes thought process and mindset about surrealism and how the subconscious and the conscious could be brought together.

The painting brings out the desire to see the hidden behind what we already see, and because of this our mind imagines a face to put on this man merely because it’s hidden. In other words it is bringing dreams and real life into one just as Andre Breton had spoken about in Manifesto of Surrealism in 1924. The apple could also symbolise our conscious and our subconscious and how by not combining them we can never really see the full truth in our reality. Magritte once commented about The Son of Man It’s something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which is visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present (Rene Margritte).

This implies that the truth of our reality is always there but it is hidden by our inability to merge our subconscious and conscious, our dreams and reality. I think this is one of the most interesting and complex paintings that are part of the Surrealism movement, though the painting consists of very little it has a lot of complex concepts within it and I think it is a great example of the surrealist mindset.

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

Rene Magritte, Golconda, 1954

Magritte painted Golconda in 1953.

It consists of almost identical men falling from the sky sim plait to rain.

The painting has a warm colour pallet similar to Magrittes other paintings, consisting mostly of shades of blue, red and beige. The painting is a great example of the surrealist style and composition as it unique and is very eye catching.

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte Rene Magritte, Time Tranfixed, 1938.

Magritte painted time transfixed in 1938 for Edward James. it is one of Magrittes most well known works as it is a great example of a surrealist painting. The painting consists of a very warm colour pallet much like Magrittes other work.

The painting compisition is very minimalistic and consists of very little, as stated by the editors of renemagritte.com, The view of the room is very limited, dominated as the work is by a mirror over a mantle piece with a surrounding fireplace. On top of the fireplace is a clock (with its time transfixed) and underneath the mantle piece, racing through the fireplace but only partially visible is a steam locomotive.It goes without saying that without the locomotive the picture would be very ordinary. It is technically brilliant, but its point of interest and the thing that grabs the viewer’s attention is the locomotive, racing through the fireplace and destroying the peace of the room.It is not the biggest feature in the room, but it has the biggest impact. It fits into the style of the piece, whilst at the same time ripping it apart with its incongruousness. As such its presence needs an explanation.

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Surrealism, The Seeds of Modernism Rene Magritte

Rene Magritte, Bather, 1925.

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

Rene Magritte, Not to Be Reproduced, 1937

Rene Magritte painted Not to be Reproduced in 1937 for Edward James, as started by the editors of rene.magritte.com, This painting was commissioned by poet and Magritte patron Edward James and is considered a portrait of James although James’ face is not depicted. This painting was one of three produced by Magritte for the ballroom of James’ London home. The work depicts a man standing in front of a mirror, but whereas the book on the mantelpiece is reflected correctly, the man can see only the back of his head.The book on the mantel is a well-worn copy of Edgar Allan Poe’s The Narrative of Arthur Gordon Pym of Nantucket (written here in French as Les aventures d’Arthur Gordon Pym). Poe was one of Magritte’s favorite authors and he made other references to the author and all of his work.

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Surrealism, The Seeds of Modernism Rene Magritte

Rene Magritte, Personal Values, 1952

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Rene Magritte

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Surrealism, The Seeds of Modernism Salvador Dali

03.

SALVADOR DALI

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

Salvador Dali was Spanish surrealist artist born in 1904 and lived until 1989. From a young age he was encouraged to practice art, and he eventually went on to study at an academy in Madrid. Similar to Magritte, Dali moved to Paris in the 1920’s, in which he met and became friends with many famous artists much as Pablo Picasso and Rene Magritte, this led to his interest and later important role in the surrealist movement.

In 1922 Dali enrolled in the Academia de San Fernando.

During his time at the academy he was influenced by different artist styles such as Metaphysics and Cubism. Dali was later suspended from the academy in 1923 for criticising his teachers work, later that year he was imprisoned in Gerona for supporting the Separatist movement.

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Surrealism, The Seeds of Modernism Salvador Dali

Salvador Dali, The Persistence of Memory, 1931.

The landscape painting consists of warm colours, which could be reflecting on the warmth of the climate, Spain, which is believed to influence the foreground and background of this painting. This perhaps is one of the most well known and famous pieces for the surrealist movement, for a number of different reasons. One being that it captures the core idea of surrealism which is to unite dreams and real life. I think in this painting the melting clocks may symbolise how time is a social construct that we follow in day to day life, I think it shows the contrast of reality and the subconscious as we have no perception of time whilst we dream and it holds no weight.

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Surrealism, The Seeds of Modernism Salvador Dali

it which could be perceived as time trapping it, which may symbolise how Dali viewed society and how it as a whole is forced to follow social constructs such as time. I think this painting (fig.1) is one of the most evident examples of a Surrealist painting as it is a clear dreamlandscape and it has a strong contrast to most paintings from other art movements.

It is a possibility that the white object that appears in the foreground of the painting is actually a self portrait of Salvador Dali (What can The Persistence of Memory tell us, 2020).

On first impression it appears to be nothing more than a piece of fabric or cloth, but after further inspection you can see a person’s side profile.

The object or self portrait has one of the three melting clocks draped over

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Surrealism, The Seeds of Modernism Salvador Dali

Salvador Dali, Bacchanale, 1939.

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

Salvador Dali, Swans Reflecting Elephants, 1937

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Surrealism, The Seeds of Modernism Salvador Dali

Dali painted Swans Reflecting Elephants in 1937. The oil on canvas painting is one of Dali’s famous double images, which were a major part of his “paranoia critical method”.

Swans Reflecting Elephants uses the reflection in the lake to create a double image seen in the painting.

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

“A true artist is not one who is

inspired,

but one who inspires others”

—Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

Salvador Dali, Three Sphinxes Of Bikini, 1947.

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

Salvador Dali , The Ascension of Christ, 1958.

The landscape painting consists of warm colours, which could be reflecting on the warmth of the climate, Spain, which is believed to influence the foreground and background of this painting. This perhaps is one of the most well known and famous pieces for the surrealist movement, for a number of different reasons. One being that it captures the core idea of surrealism which is to unite dreams and real life. I think in this painting the melting clocks may symbolise how time is a social construct that we follow in day to day life, I think it shows the contrast of reality and the subconscious as we have no perception of time whilst we dream and it holds no weight. It is a possibility that the white object that appears in the foreground of the painting is actually a self portrait of Salvador Dali (What can The Persistence of Memory tell us, 2020). On first impression it appears to be nothing more than a piece of fabric or cloth, but after further inspection you can see a person’s side profile. The object or self portrait has one of the three melting clocks draped over it which could be perceived as time trapping it, which may symbolise how Dali viewed society and how it as a whole is forced to follow social constructs such as time. I think this painting (fig.1) is one of the most evident examples of a Surrealist painting as it is a clear dream landscape and it has a strong contrast to most paintings from other art movements. The outlandish contents and message of the painting proclaim how Salvador Dali is one of the icons and most important members of the Surrealist movement.

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Salvador Dali

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Surrealism, The Seeds of Modernism Max Ernst

04.

MAX ERNST

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Surrealism, The Seeds of Modernism Max Ernst

Max Ernst was a German painter, sculptor, graphic artist and poet. He was born in Germany in 1891 and lived until 1976 as stated by the editors of max.ernst.com, Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes

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Surrealism, The Seeds of Modernism Max Ernst

to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher.

He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting.

Moreover, he became fascinated with psychology, among other subjects in school.

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Surrealism, The Seeds of Modernism Max Ernst

Max Ernst, Der Hausengel, 1937.

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Surrealism, The Seeds of Modernism Max Ernst

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Surrealism, The Seeds of Modernism Max Ernst

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Surrealism, The Seeds of Modernism Max Ernst

Max Ernst, The Elephant Celebes, 1921.

Max Ernst painted the oil on canvas painting The Elephant Celebes in 1921. The painting is derived from a photograph of a Sudanese corn-bin according to the editors of tate.org., The central rotund shape in this painting derives from a photograph of a Sudanese corn-bin, which Ernst has transformed into a sinister mechanical monster. Ernst often re-used found images, and either added or removed elements in order to create new realities, all the more disturbing for being drawn from the known world. The work’s title comes from a childish German rhyme that begins: ‘The elephant from Celebes has sticky, yellow bottom grease’. The painting’s inexplicable combinations, such as the headless female figure and the elephant-like creature, suggest images from a dream and the Freudian technique of free association.

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Surrealism, The Seeds of Modernism Max Ernst

Max Ernst, Europe After the Rain, 1942

The oil on canvas painting is an abstract landscape of a city that could possibly be the aftermath of a war and has a sense of aggression. In this painting there are two figures, neither appearing to be fully human but rather a creature with human qualities. As a result of being a german soldier in World War 1 Ernst became critical of western culture which was perhaps one of the main reasons for his later interest and role in Surrealism (Max Ernst and his paintings, maxernst.com). Ernst moved to Paris in 1922 which is where he began to paint Europe after the War II, he later moved to the United States of America which is where he finished the painting. The painting could represent Ernst’s view on society and how there is a lot of chaos and uncivilization

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Surrealism, The Seeds of Modernism Max Ernst

hidden, especially as a result of the war. The two figures in the painting could perhaps represent Ernst leaving Europe and moving to the United States of America for a new beginning (The Surrealist Revolution part 1). The male figure in the painting which seems to be half human, half bird seems to be half looking back at the green figure walking past him. The green figure walking past may represent Ernst’s past and the fact that she is walking past him could indicate he feels that time is passing, and how his time in Europe is behind him and he is ready for a new start.

Therefore the half human, half bird figure would represent Enrst himself looking back at his time in Europe and moving on to a new beginning in the United States of America.

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Surrealism, The Seeds of Modernism Max Ernst

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Surrealism, The Seeds of Modernism Max Ernst

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Surrealism, The Seeds of Modernism Max Ernst

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Surrealism, The Seeds of Modernism Endmatter

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ENDMATTER

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Surrealism, The Seeds of Modernism Endmatter

List of Plates Toyen, La Guerre, 1945, pg.01

Salvador Dali, Bacchanale, 1939, pg.32

Sourced from https://www.widewalls. ch/artists/andre-breton, pg.02

Salvador Dali, Swans Reflecting Elephants, 1937, pg.34

Sourced from https://www.imdb.com/ name/nm0107866/?ref_=nm_mv _close pg.04-05

Sourced from http://mathematics-ineurope.eu/?p=966, pg.36 Salvador Dali, Three Sphinxes Of Bikini, 1947, pg.38

Sourced from https://musartboutique. com/our-artists/rene-magritte-2/, pg.06

Salvador Dali , The Ascension of Christ, 1958, pg.40

Lothar Wolleh, pg. 08 Rene Magritte, The Lovers, 1928, pg. 10

Sourced from https://www.barcelona. de/en/salvador-dali.html, pg.42

Rene Magritte, The Son of Man, 1964, pg.12

Sourced from Mucciaccia Gallery, pg.44

Rene Magritte, Golconda, 1954, pg.14

Sourced from https://en.wikipedia.org/ wiki/Max_Ernst, pg. 46

Rene Magritte, Time Tranfixed, 1938, pg.16

Max Ernst, Der Hausengel, 1937, pg.48

Rene Magritte, Bather, 1925, pg.18

Max Ernst, The Elephant Celebes, 1921, pg.50

Rene Magritte, Not to Be Reproduced, 1937, pg.20

Max Ernst, Europe After the Rain, 1942, pg.52

Rene Magritte, Personal Values, 1952, pg.22

Frederick Sommer, pg.54

Sourced from adagp imahges Paris, pg.24

Sourced from Salvador Dali, GalaSalvador Dali Foundation/DACS, London 2021, pg.56

Sourced from https://www. dalipaintings.com, pg.26 Sourced from Wikiart, pg.28 Salvador Dali, The Persistence of Memory, 1931, pg.30

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Surrealism, The Seeds of Modernism Endmatter

Bibliography Keith Aspley, Historical Dictionary of Surrealism, 2010, p. Xv. Wendy Boring-Bray, https://www.betterhelp.com/advice/ memory/what-can-the-persistence-of-memory-tell-us/ Andre Breton, Manifesto of Surrealism, 1924.

Max Ernst and his paintings, https://www.max-ernst.com.

Jon Mann, https://www.artsy.net/article/artsy-editorial-whatis-surrealism.

Rene Margritte, https://www.renemagritte.org.

Tate.org.uk, https://www.tate.org.uk/art/art-terms/s/ surrealism.

Theartroom1, https://www.youtube.com/ watch?v=6a6cw3Lgw94.

The Editors of Encyclopedia Britannica, https://www. britannica.com/art/Surrealism.

The Editors of https://www.renemagritte.org.

The Editors of https://www.renemagritte.org/golconda.jsp.

The Editors of https://www.biography.com/artist/salvadordali.

The Editors of http://www.rene-magritte.com/timetransfixed/.

The Editors of https://www.renemagritte.org/not-to-bereproduced.jsp.

The Editors of https://www.dalipaintings.com/swansreflecting-elephants.jsp.

The Editors of https://www.max-ernst.com.

The Editors of https://www.tate.org.uk/art/artworks/ernstcelebes-t01988.

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Surrealism, The Seeds of Modernism Endmatter

Bauhaus Archive Berlin Museum of Design

Published in 2021 Edited by James Volks & Susan Harrison Institute of Art, Design and Technology Kill Avanue, Dun Laoghaire, Co.Dublin, Ireland, A96 KH79 Phone: + 353 1 239 4000 Email: info@iadt.ie Copyright © 2021 All rights reserved. No part of this publication may be reproduced to be transmitted in any form or by any means electronic or mechanical, including photocopy, recording or any information storage and retrieval System, without prior permission in writing from the publisher.

Text & cover : Fia Hudson

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