Word: surrealistes
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Dates: during 1930-1939
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Last week Peter Blume's South of Scranton (see cut) won first prize ($1,500) in the Carnegie International Exhibition of Paintings at Pittsburgh, against 356 other canvases by 296 other artists from 13 countries. A surrealist picture, South of Scranton was characterized by flat, bright colors, razor-sharp outlines. Rare indeed was the critic who dared to stand up and cheer for it. The New York Sun's Henry McBride, after a long description of his train trip to Pittsburgh during which a "sudden lurch" threw "an exceedingly handsome young woman'' into his arms, finally...
Also in Manhattan last week arrived a surrealist-edited issue of Minotaure ($2.50 a copy), a new artistic & literary French magazine, which one critic called a "public danger." Its cover was by André Derain. It contained an article on ecstasy illustrated by sections of pornographic postcards, reproductions of Braque, Picasso, Matisse, Photographer Man Ray, a discussion of sex symbolism in hats...
...were so dirty "the sun never pierced their thick grey crust," and Paul Vallery, the poet, Andre Gide with his reserved, cruelly analytical "Nouvelle Revue Francaise," and Raymond Radeguet sitting every evening at the Boeuf surle Toit and drinking with-out moving his "stubborn eyelids." There is chirico, the Surrealist, and Maurice Rostand, who lived with his mother in haughty, respectable rooms looking out on the Arc de Triomphe de 1'Etoile, Matisse, Madame Chanel, Modigliani, and James Joyce, and Jose Maria Sert, who is now decoration part of Radio City. There are almost too many of them; one gains...
...Daniel Gallery in 1915. At that time he was an ardent cubist and bewildered conservative critics with his angularities. In 1921 he went to Paris, where he has remained. He gave up Cubism for Dadaism, Dadaism for Surrealism, finally gave up painting almost entirely for photography. His Surrealist shots of bits of landscape, nudes, egg beaters and pieces of wire have caught the fancy of French advertisers. Besides portraits of his friends, he has become financially success ful as a commercial photographer. Last week he wrote from Paris...
About surrealism there is a certain lunatic logic which appeals to the precise French mind. Everyone knows that most great painters did not consciously strive for all the shades of significance which plodding German critics like to read into their works. They just painted. It is therefore the surrealists' premise that all that is necessary to produce art is to stand in front of a canvas with a wet brush in your hand and give your emotions a free rein. Surrealist Crotti is so certain of the value of his products that he rejects oil paint as too impermanent, works...