Word: daly
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Dates: during 1970-1979
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There was also generally in the surrealists a theatrical state of mind, which in the case of Paul Delvaux became virtually a stock in trade. Originally an expressionist, Delvaux was a latecomer to surrealism, converted by an exhibition of works by Chirico, Magritte and Dali that he saw in Brussels in 1934 when he was 37. And though he is one of the more durable surrealist artists, his imagery-as the selection of his work here indicates-constantly hovers on the edge of cliche. The Delvaux "look" is unmistakable: an empty street of neoclassical façades, a 19th century...
...landscape on an easel in front of a window and continuous with the "real" painted landscape seen beyond, have virtually become surrealist icons) remain unpredictable despite their familiarity. That is because Magritte was such a virtuoso of the insoluble, the contradictory, the locked. Unlike Delvaux (or for that matter Dali, Masson or Ernst), Magritte had absolutely no interest in what seemed romantic, chancy, theatrically mysterious or exotic. He called his paintings "material tokens of the freedom of thought," and materiality is of their essence...
Harvard-Epworth films has started a series of all the films of Luis Bunuel, starting with his earliest, the 24-minute silent film Un Chien Andalou (1924), which he made with Salvador Dali. Bunuel had a surrealistic vision from the start, but his surrealism became politicized after a period of time. Las Hurdes (Land Without Bread) was commissioned by the Spanish government, but its political ideas were offensive to its commissioners, and so the film was banned in Spain soon after it was made. Simon of the Desert (1965) was made after his politics had grown mellower--though not quite...
...Salvador Dali and Luis Bunuel's surrealistic Un Chien Andalou is at Kirkland House along with some other shorts, while Bergman's Shame--where the great director takes on death and war with his usual perception--heads a list of swedish films at Hilles. I.F. Stone's Weekly is being held over at the Welles, and it's reportedly the best documentary of the year, about a very admirable journalist...
Wilson's imagination is hallucinatory, evoking the visions of drug takers. It is also surreal. If Dali had not thought of a melting watch, Wilson could have. Stalin does not unfold through logic, but through phantasmagorical sequences, as if dancers were paradoxically miming still lifes...