Word: surrealist
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Dates: during 1930-1939
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...broke through and expressed itself-to the immense comfort of Dr. Pailthorpe's and Mr. Mednikoff's psyches. They were doing in their own way what psychiatrists do in psychoanalysis. Sometimes they happily babbled babytalk. Sometimes they wrote infantile verse. But most of the time they painted surrealist child-paintings...
From their experience grew the Pailthorpe-Mednikoff Theory, about which they hope to write a book if the show earns them enough money. Surrealist painting, they say, affords a very effective sort of psychotherapy. They believe childhood quirks, resulting in adulthood's maladjustments, can be cleared away if the subconscious mind paints them through symbols of its choice...
...catchier varieties of modern art. First window designs openly based on an art exhibition were Saks's van Gogh windows in 1935. Since then Bonwit Teller has taken the ball from shrewd Saksman Ring and has had half a dozen tie-ups with Art, notably a Surrealist display in 1936 designed by none other than Salvador Dali. Bonwit's own Display Director Tom Lee has reached a certain summit this autumn with swank and cockeyed Ballet windows. Harlequin windows and "Sweet Surrealism'' windows, one of whose attractions, the female chair (see cut. p. 57), is already...
Fortnight ago this manifesto exploded in London's Surrealist Group, led by scholarly, pale-faced, silken-voiced Herbert Read, who occupies the magnificently ambiguous position of arch Surrealist apologist and editor of the Burlington Magazine, England's most conservative art publication. Presented by Professor Read, the Breton manifesto led to a bitter tiff between Communist and Trotskyist members, finally to a breakup. Last word came from Gallery Director E. L. T. Mesens, who suggested that the English Surrealists had never been worth their salt anyway, having always abstained from such direct action as driving horses into theatre foyers...
...Trees (see cut) were ranked last week with those of the great arboreal Frenchman, Segonzac. Morris Kantor, who does not even try to paint in Manhattan or any place that is "emotionally overpowering." and never anywhere on grey days, eschews Surrealist or other theorizing and thinks the best way to get U. S artists over their self-consciousness is to let them alone...