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Dada and surrealism, now half a century old, were not merely episodes or aberrations in the history of art, but part of its mainstream development, perhaps more profound and influential than any other style of the century. Now that the fusillades have died away on the barricades, the Museum of...

Author: /time Magazine | Title: Museums: The Hobbyhorse Rides Again | 4/5/1968 | See Source »

"Dada, Surrealism and Their Heritage"* demonstrates abundantly that the philosophies produced a witty, erotic, and still magically evocative body of work (see following color pages).

Author: /time Magazine | Title: Museums: The Hobbyhorse Rides Again | 4/5/1968 | See Source »

All surrealists agreed that the time had come to substitute the logic of the unconscious for the deliberate illogic of Dada, but only half of the movement, including Dali, René Magritte and Yves Tanguy, used conventional Renaissance oil techniques and perspective to portray the fantasy world of dreams and...

Author: /time Magazine | Title: Museums: The Hobbyhorse Rides Again | 4/5/1968 | See Source »

Prophetic Approaches. In the long run, the other technique of "automatist" surrealism proved more revolutionary and durable. As practiced by Joan Miro, André Masson, Max Ernst and Roberto Matta, automatism relied on the unconscious to direct the pen, pencil, brush or tube of glue. "Rather than setting out to...

Author: /time Magazine | Title: Museums: The Hobbyhorse Rides Again | 4/5/1968 | See Source »

Automatist surrealism migrated to the U.S. during World War II. It deeply impressed a generation of younger American artists who were shortly to become celebrated innovators themselves, such as Pollock, Mark Rothko and Adolph Gottlieb.

Author: /time Magazine | Title: Museums: The Hobbyhorse Rides Again | 4/5/1968 | See Source »

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