Plz write about surrealism.To be handed in on the due date in class.
10 pages (2500 words) of text (excluding bibliography, and addenda for illustrations) typed
and double-spaced with 1 inch margins, 12 point font (i.e. New Times Roman) or a font no
smaller than what’s on this page. • This well-written research essay should be on a subject
relevant to the class content (weekly slides, readings, or referenced in the bibliography). The
topic chosen should not be too general in scope. It should focus on a subject, which allows the
student to cover the material in a succinct manner given the short format. This can be a series
of works by one artist, an aspect of a movement, an interesting phenomenon common to a
group of works.
The student must keep the professor informed as to the progress of the research paper and is
required to submit a preliminary outline and bibliography before reading week.
Please make reference to the critical tools, issues, theorists, writers, and approaches addressed
in class and/or in the required readings. The bibliography (or list of works cited) should have
ten (10) scholarly sources (such as journal articles or exhibition catalogues), and make
reference to the required readings. There should be a minimum of ten texts cited. The texts in
the course pack should be cited and additional outside research is expected. Web-sources
should be scholarly in nature.
• The text should be well-edited and composed: with introduction including thesis statement
with clear indication of author, topic, analysis of the artwork(s), statement of your own point . of view, and conclusion. • Correct scholarly format necessary for citations (footnotes and
bibliography). Students should work with the Chicago Style Guide, available in bookstores,
on the web, and in the reference section of the library. • WEB SOURCES Only scholarly
journal articles available on the U. of Ottawa database, i.e. JStor or Sage are fine. •
Illustrations necessary. Paper copies only, no e-mail submissions. Late papers downgraded
5% per day.
Style guide examples please refer to the SASS (Student Academic Success) website, where
you will find three style guides. Choose Chicago Manual of Style Guide. You will find other
useful information on how to improve your writing skills with helpful suggestions regarding
grammar and punctuation.
05_02art_3171__art__utopia__surrealism.pdf
Unformatted Attachment Preview
ART 3171: Art, Utopia, and Avant-Gardes
Professor Francine Dagenais
This slide show should not be reproduced
without permission. For the exclusive use of
students enrolled in this class and for
academic purposes only
Today: Surrealism in collage, painting,
objects, and installation.
Readings for today: Fiona Barber’s chapter
“Surrealism: 1924-29” from Art of the AvantGardes, in course pack;
André Breton’s excepts from the “First
Surrealist Manifesto” (1924), “The Exquisite
Corpse” (1948); and Salvador Dali’s
“Conquest of the Irrational,” all in course
pack, taken from Patrick Waldberg’s book
Surrealism (London: Thames & Hudson,
1965).
André Masson, Battle of the Fishes, 1926, sand, gesso, oil, pencil and charcoal on
canvas, 36 x 74 cm* (*=in course pack)
SIGMUND FREUD, father of psychoanalysis, author of STUDIES IN
HYSTERIA, 1895; THE INTERPRETATION OF DREAMS, 1900,
(TRANSLATED TO FRENCH, 1921)
René Magritte, The Reckless
Sleeper, 1928, o/canvas, 116 x 81 cm
André Masson, Birth of Birds,1925 Automatic Painting, Ink on paper, 41,9 x 31,4 cm.
Gallery: MoMA.
André Masson, Vegetal Delirium,
1925, ink on paper
André Masson, Battle of the Fishes, 1926, sand, gesso, oil, pencil and charcoal on
canvas, 36 x 74 cm* (*=in course pack)
LEFT: ISIDORE DUCASSE, LE COMTE DE LAUTRÉAMONT (1846-70)
RIGHT: PORTRAIT OF CHARLES BAUDELAIRE, AUTHOR OF LES FLEURS
DU MAL, POET AND ART CRITIC, PHOTOGRAPH BY NADAR, CA. 1870
André MASSON, FISH DRAWN
IN THE SAND, sand, gesso & oil,
pencil on canvas, 1927
Joan Miró, Stars in the Sexes of Snails,
1925, o/canvas, 130 x 97 cm
ANDRÉ BRETON AND PHILIPPE SOUPAULT, THE MUSE OF AUTOMATIC WRITING
(photo) with instructions and an example of automatic writing,1924. You can try this at
home.
SIMONE KAHN-BRETON WITH ANDRÉ BRETON AND THE SURREALIST
POETS, IN A SESSION OF AUTOMATIC WRITING, circa 1925
LEFT: HENRY FUSELI (SWISS, ROMANTICISM), THE NIGHTMARE,
EXHIBITED IN LONDON, 1782
RIGHT: FRANCESCO DE GOYA, THE SLEEP OF REASON PRODUCES
MONSTERS, 1797-98, ETCHING FOR ‘HORRORS OF WAR’ SERIES
OSCAR DOMINGUEZ, Left: UNTITLED, GOUACHE TRANSFER (DECALCOMANIA),
1936, 14 X 11 IN; Right: DECALCOMANIA WITHOUT PRECONCEIVED OBJECT I,
1936, GOUACHE, 14 X 11 IN.
LEFT: MAX ERNST, FROTTAGE, 1927, 10 ½ in
RIGHT: MAX ERNST, HEAD, 1925 (FROTTAGE), 17 x 13 in
L: Exquisite Corpse by André Breton, Valentine Hugo, Greta Knutson and Tristan Tzara,
1930, ink on paper, 9 x 12 in
R: Exquisite Corpse by Man Ray, Yves Tanguy, Joan Miró, Max Morise, 1928, ink on
paper
L: EXQUISITE CORPSE BY ANDRE BRETON, PAUL ELUARD, TRISTAN TZARA AND VALENTINE
HUGO, 1929, PASTEL ON PAPER
R: CADAVRE EXQUIS BY BRETON, PAUL ELUARD, VALENTINE HUGO, 1930, PENCIL/PAPER
MERET OPPENHEIM, Object (Le Déjeuner en fourrure)/(Breakfast in Fur),1936, furcovered porcelain tea cup, saucer and tea-spoon, MoMA
MERET OPPENHEIM, Objet (Le Déjeuner en
fourrure)/Object (Breakfast in Fur),1936, furcovered porcelain tea cup, saucer and teaspoon, MoMA
R: Peter Paul Rubens, Helene Fourment in a
Fur Cloak (The Little Fur) (Het Peltskin), 1640,
o/canvas, Baroque (Flemish)
SALVADOR DALI, THE PERSISTENCE OF MEMORY, 1931, O/C, 9.5 X 13 IN.
(Re: “Paranoaic critical” method)
Salvador Dali, The Accommodations of Desire, 1929, oil and collage on cardboard, 22 x
35 cm, The Metropolitan Museum NY
SALVADOR DALI, THE DISMAL
SPORT OR, THE LUGUBRIOUS
GAME (LE JEU LUGUBRE), 1929, O/
C, 16 X 10 IN.
DALI, THE METAMORPHOSIS OF NARCISSUS, 1937, O/C, 20 X 30 IN. (TATE)
CARAVAGGIO, NARCISSUS,
1598, O/C (ROMAN EARLY
BAROQUE)
YVES TANGUY, R: EXTINCTION OF
USELESS LIGHTS, 1927, O/C, 36 X 25in
Below: THE SUN AND ITS JEWELL
CASE, 1937, 45 X 34in
LEFT: MAX ERNST, MURDERING AIRPLANE, 1920, COLLAGE, 2.5 x 4 inches
RIGHT: Max Ernst, Here Everything is Still Floating (Fatagaga: The Third Gazometric
Picture), (title by Jean Arp), 1920, collaborative photomontage, 4 x 4 in
MAX ERNST, REPETITIONS, COVER COLLAGE FOR COLLECTION, 1922,
MAN RAY, PHOTO OF THE SURREALISTS IN THE BUREAU OF SURREALIST
RESEARCH, 1924, PARIS
Claude Cahun and Marcel Moore, Aveux non avenus, photomontage,
1929-1930
MAX ERNST, THE ELEPHANT OF CELEBES, 1921, O/C, 49 X 42 IN. THE TATE,
LONDON
MAX ERNST, THE VIRGIN SPANKING
THE CHRIST CHILD BEFORE THREE
WITNESSES, BRETON, ELUARD AND
THE PAINTER, oil/canvas, 1926
GIORGIO DE CHIRICO, L: MELANCHOLY AND MYSTERY OF A STREET,
1914, O/C, 34 X 28 IN.; R: THE DISQUIETING MUSES, 1917, O/C, 38 X 26 IN
JOAN MIRÓ, THE HARLEQUIN’S CARNIVAL, 1924, OC, 26 X 36 IN (ALBRIGHT-KNOX
GALLERY, BUFFALO)
Arlequin vu par Maurice Sand, 1860.
Picasso, Arlequin, 1915, MoMA New York
Joan Miró, Le Sourire de ma blonde (My girlfriend’s smile), 1925, o/c, 114 x 88 cm
Joan Miró, The Birth of the World,
1925, o/c, 96 x 76 in
JOAN MIRÓ, CHIPHERS AND CONSTELLATIONS IN LOVE WITH A WOMAN, 1941, O/
Canvas
KAY SAGE, 1938, A LITTLE LATER,
O/C, 37 X 29 IN.
RENÉ MAGRITTE, THE MENACED ASSASIN, 1926, 59 X 76 (NY MoMA)
RENÉ MAGRITTE, THE TREASON (TREACHERY) OF IMAGES, O/C, 1928-29, 23 X 38
IN, (L.A. COUNTY MUSEUM OF ART)
RENÉ MAGRITTE, THE FALSE MIRROR, 1928, O/C, 21 X 22 IN.
MAGRITTE, PERSONAL VALUES, O/C, 1952*
Magritte, On the Threshold of Liberty, 1929, 45 x 57 in
RENÉ MAGRITE,
PHILOSOPHY IN THE
BOUDOIR, 1947, O/C
RENÉ MAGRITTE, LE VIOL (THE
RAPE), 1934, OC, 28 X 21 IN (THE
MENIL COLLECTION, HOUSTON)
ITHELL COLQUHOUN, SCYLLA,
o/c, 1938
PICASSO, SEATED BATHER, PARIS, 1930, O/C, 64 X 51 O/C
ALBERTO GIACOMETTI, WOMAN WITH HER THROAT CUT, 1932, BRONZE
Alberto Giacometti, Balle suspendue (Suspended Ball: The Hour of the Traces), 1930-31,
plaster and metal, 24 x 14 in
L: Kurt Seligman, Ultra-Furniture, 1938, surrealist object – mannequin legs with velvet seat
R: René Magritte, La femme bouteille, not dated, surrealist object, painted wine bottle
Cartoon from The New Yorker, Nov. 6, 2006
L: Eileen Agar, Angel of Anarchy, 1940, Surrealist object with feathers, First Nations beads and pony
skin, embroidered Chinese silk
R: Kay Sage, Small Portrait, o/canvas, 1950
R: Man Ray, The Enigma of Isidore Ducasse, 1920, photo of Surrealist object
L: Man Ray, Woman in Handcuffs, 1929, photograph
LEONORA CARRINGTON, SELF-PORTRAIT, 1938, O/C, 25 X 32 IN.
DOROTHEA TANNING, EINE KLEINE NACHTMUSIK (A LITTLE NIGHTMUSIC), o,c,
1946
Left: Leonor Fini, Au but du monde (At the End of the Earth), o/canvas, 1949, 13 x 11 in
Right: Vanentine Hugo, Portrait of Pablo Picasso, o/c, 1934
“Never,” an object by Oscar Dominguez with
gramaphone and mannequin legs, a coal brazier,
the hundreds of bags of “coal” hung from the
ceiling by Marcel Duchamp. Surrealist paintings
to be viewed with flashlights.
INSTALLATION VIEW from the International
Surrealist Exhibition, Paris, 1938, Galerie des
Beaux Arts. (For further info. on this, see Bruce
Altshuler’s book The Avant-Garde in Exhibition,
or Surrealism by Sarane Alexander)
“Rainy Taxi” installation by S. Dali (with detail): Taxi with water dripping on mannequin and snails in
back and mannequin with gas mask in front seat. Installed at the International Surrealist Exhibition,
Paris, 1938, Galerie des Beaux Arts.
Installation at the International Exhibition
of Surrealism, Paris, 1938 with works by
Marcel Jean, Palen, Masson, and
Penrose
Left: Mannequins by (from Left, clockwise)
Dali, Miro, Ernst, Dominquez, hallway
installation at the International Surrealist
Exhibition, Paris, 1938
André Masson, Girl in a Black Gag with Pansy Mouth, mannequin with birdcage, installations at the
International Surrealist Exhibition, Paris, 1938. With detail photograph by Man Ray
“First Papers of Surrealism” exhibition in New York, 1942. Paintings by various artists
(including Mondrian) and Marcel Duchamp string web.
…
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