Exposition Internationale du Surréalisme

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Title page of the catalog for the exhibition in the Galerie Beaux-Arts, Paris 1938

The Exposition Internationale du Surréalisme was an exhibition by artists of surrealism that took place from January 17 to February 24, 1938 in the lavishly appointed Beaux-Arts gallery run by Georges Wildenstein , 140, Rue du Faubourg Saint-Honoré in Paris , took place. The organizers were the French writer André Breton , the head and theoretician of the Surrealists, as well as the most famous poet of the movement, Paul Éluard . Marcel Duchamp was also named in the catalog as generator and mediator(above all for the constant quarrels between the deeply divided friends Breton and Éluard, as well as the positional battles between the participating artists), Salvador Dalí and Max Ernst as technical advisors as well as Man Ray as lighting master and Wolfgang Paalen as responsible for water and bushes . The exhibition, which was staged in three departments, showed, in addition to the paintings and objects presented, very differently redesigned mannequins and unusually decorated rooms. With this exhibition, the surrealist movement wrote exhibition history with its total staging - in the sense of a surrealist total work of art .

prehistory

The house at 140, Rue du Faubourg Saint-Honoré in Paris, built in 1860 where the exhibition was held in 1938, in 2011

The surrealist artists had previously shown their works in solo exhibitions before their first group exhibition took place in November 1925 in Pierre Loeb's Galerie Pierre in Paris. It showed works by Giorgio de Chirico , Hans Arp , Max Ernst, Paul Klee , Man Ray, André Masson , Joan Miró , Pablo Picasso and Pierre Roy . Another joint exhibition followed in 1928 at the Au Sacre du Printemps gallery in Paris under the title: Le Surréalisme, existe-t-il? (Does surrealism exist?) . Participants included Max Ernst, André Masson, Joan Miró, Francis Picabia and Yves Tanguy . Further joint exhibitions followed: in 1931 the first surrealist exhibition in the United States took place in the Wadsworth Atheneum in Hartford / Connecticut and in May 1936 the Surréaliste d'Objets exposition in the Paris gallery Charles Ratton took place, which placed a special emphasis on object art and itself while on the primitivism that Fetishes summoned and the mathematical models. In June of the same year the International Surrealist Exhibition took place at the New Burlington Galleries in London . These exhibitions still had the usual form of presentation, the white room, which had been shaped in the 1912 Sonderbund exhibition in Cologne. However, in 1938 Breton wanted to create a framework for the first time in the Beaux-Arts gallery of surrealist art in which the presentation itself could be considered a surrealist production. As a creative act, it should be a surrealist experience in which images and objects serve as elements in a completely surrealist environment .

At the end of 1937, Breton and Éluard had invited Duchamp to contribute ideas for the planned surrealist exhibition. Duchamp had already taken part in previous exhibitions with works, but was never a member according to his attitude that he did not want to belong to any group. Nevertheless, Duchamp accepted the invitation to help shape the exhibition as a designer, and this led to collaboration on other projects such as the 1942 exhibition First Papers of Surrealism in New York .

The catalog and a reference work

Dictionnaire abrégé du surréalisme
Cover illustration by Yves Tanguy , 1938
Galerie Beaux-Arts, Paris

Link to the picture
(please note copyrights )

The eight-page catalog, in which the artists were listed in large letters and capitals, provided information on who was responsible for the event. André Breton and Paul Éluard acted as organizers, Marcel Duchamp was the generator referee , Salvador Dalí and Max Ernst were appointed technical advisors, the lighting master was Man Ray, and Wolfgang Paalen described himself as responsible for water and bushes .

In addition to the catalog, the 76-page Dictionnaire abrégé du surréalisme published by the Galerie Beaux-Arts under the direction of Breton and Éluard was published for the exhibition . It was a dictionary of surrealism, with an introduction by the French art critic Raymond Cogniat, artistic director of the Beaux-Arts gallery, an illustration on the cover by Yves Tanguy and a section of illustrations that was extensive for the circumstances at the time, which sums up the proof of origin of the complete surrealist works. All artist names, "all keywords, all obsessional terms and motifs, the new inspirational image techniques and the ancestors" are combined in it. The alphabetically ordered names and terms from “absurd” to “zen” and “zibou” are mostly explained by quotations from the writings of the leading members of the surrealist movement. Some works of art that were not ready at the time of going to press were mysteriously hinted at or depicted in the form of sketches, such as Wolfgang Paalen's sponge umbrella Nuage articulé .

The exhibition

The exhibition consisted of three sections: a “forecourt” with the taxi pluvieux (rain taxi) by Salvador Dalí and two main parts, the Plus belles rues de Paris (The most beautiful streets of Paris) with surrealist mannequins - rented from a French manufacturer - as well as from a central room arranged by Marcel Duchamp and Wolfgang Paalen and illuminated by Man Ray. There hung - dimly lit - on the walls and on Duchamp's revolving doors, two revolving doors , paintings, collages, photos and graphics. In addition, objects were set up on various bases. With the help of objects and objects from nature and civilization, the room itself was transformed into a "dark and absurd ambience: less exhibition space than cave and lap." Wolfgang Paalen installed a real water lily pond in it, called Avant la mare , with reeds and water lilies , Ivy and water in a fold in the bottom filled with plastic cloth. He had the entire floor of the exhibition rooms, inspired by his own work Le sol de la forêt from 1933, covered with wet leaves and damp earth from the Montparnasse cemetery .

The opening

Hélène Vanel dancing in the main room
Photograph, 1938
Galerie Beaux-Arts, Paris

Link to the picture
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For the opening evening - the exhibition opened late at 10 p.m., evening wear was mandatory - all kinds of apparitions had been announced: hysteria, a sky full of flying dogs and the presence of an android , a descendant of Frankenstein . Marcel Duchamp was not present at the opening; he and his partner Mary Reynolds had left for London to select and hang paintings and drawings by Jean Cocteau for Peggy Guggenheim's Guggenheim Jeune gallery . The gallery opened on January 24, 1938 with a Jean Cocteau exhibition. Also absent were Joan Miró and Yves Tanguy, who mostly stayed away from the joint events anyway, and René Magritte, who lived in Brussels.

At Dalí's suggestion, the designers worked together to create a performance in which the French actress Hélène Vanel, with chains around her naked body, jumped from pillows that were lying on the floor. She splashed wildly in Paalen's pond installation Avant la Mare , whereby, according to legend, a splash of mud flew into the astonished open mouth of one of the elegant visitors; she appeared a short time later, wearing a torn nightgown, "and gave an all too realistic idea of ​​a hysterical attack."

The artists

The event featured 229 works by 60 exhibitors from 14 countries and included paintings, art objects, collages , photographs and installations . Participants were artists and writers such as Hans Bellmer , Leonora Carrington , Joseph Cornell and Óscar Domínguez ; Salvador Dalí was represented with six paintings, including The Great Masturbator from 1929. In addition to five works such as La Baguerre d'Austerlitz and a replica of the ready-made bottle dryer by Marcel Duchamp , Das Ultramöbel , 1937, by Kurt Seligmann , sculptures by Alberto Giacometti and objects by Meret Oppenheim , including the Déjeuner en fourrure (breakfast in fur) from 1936 to see. In addition, 14 pictures by Max Ernst , including Das Rendezvous der Freunde , 1922, and L'Ange du foyer ou Le Triomphe du surréalisme from 1937; Stanley William Hayter , Georges Hugnet , Humphrey Jennings , Léo Malet ; The Expectation , 1936, by Richard Oelze , Pablo Picasso with two surrealistic pictures; Man Ray, among others, with A l'heure de l'observatoire - les amoureux , 1932–34, and will- o'-the-wisps from 1932–37; nine works by René Magritte , including Der Schlüssel der Felder from 1936 and Der Therapeut II from 1937; eight early pictures by Giorgio de Chirico ; André Masson , Roberto Matta ; several works by Joan Miró , including Dutch Interior I from 1928; Wolfgang Paalen showed, inter alia. his painting Paysage totémique de mon enfance , as well as several objects, including Le moi et le soi , Potènce avec paratonnèrre , a life-size wooden boom with lightning rod, dedicated to the German philosopher and scientist Georg Christoph Lichtenberg ; Paalen's sponge-umbrella Nuage articulé hung from the ceiling on a thread, floating freely. Furthermore, works by Roland Penrose , Jindřich Štyrský , Yves Tanguy were shown with nine pictures, including De l'autre côte du pont from 1936, Toyen , Raoul Ubac and Remedios Varo .

The forecourt

Taxi pluvieux
Salvador Dalí , 1938
Art object, photography by Denise Bellon

Link to the picture
(please note copyrights )

The rain taxi in the Teatre-Museu Dalí

The rain taxi Dalí in the atrium - a former taxi - that welcomed visitors was an old automobile, ivy entwined inside and outside, sat a female mannequin with tousled hair in the rear in evening dress between heads of lettuce and chicory. There was a sewing machine in the next seat. The chauffeur was a jointed doll whose head was framed by a bony shark's mouth and whose eyes were covered by dark glasses. The inside was constantly sprinkled with water, so that the clothes of the "lady" were soaked and the blonde wig dissolved into felty strands, while Roman snails, which are visible on the forehead and neck of the "lady", left their slimy traces .

The rain taxi turned Dalí in 1974 for the opening of the Teatre-Museu Dalí in his birthplace of Figueres in the courtyard of the museum on its roof adorned with the large sculpture Esther by Ernst Fuchs .

The most beautiful streets of Paris

mannequin
André Masson , 1938
Art object, photography by Raoul Ubac

Link to the picture
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From the forecourt, visitors came into a long corridor with street signs. In the Plus belles rues de Paris , for example, Marcel Duchamp, Max Ernst, Joan Miró, Man Ray, André Masson, Yves Tanguy and Wolfgang Paalen exhibited mannequins that were provocatively designed and dressed as sexual objects and stood in front of the street signs. The 16 figures showed the motifs and processes of surrealism, which consisted of veiling and revelation and expressed the bound desire, the power of the unconscious instincts and the breaking of taboos.

Some of the street signs referred to surrealist obsessions, some had a fictional and poetic character, but also named street names that actually existed, such as the Rue Nicolas-Flamel in Paris, which was reminiscent of the medieval alchemist Nicolas Flamel , whose writings by André Breton, Paul Éluard and Robert Desnos had been cited as examples of surrealist poetry. The poet Lautréamont , to whom the Surrealists owed their motto of the sewing machine and the umbrella on the dissecting table, lived in Rue Vivienne . According to Max Ernst, the encounter between two or more "elements alien to them" provokes the strongest poetic ignitions on a plan alien to them. The Passage des Panoramas referred to one of the Surrealists' favorite places in Paris, the Rue de la Vieille Lanterne was reminiscent of a street that no longer exists today, in which Gérard de Nerval - named by Breton several times as a model for the movement - took his own life, and the Porte de Lilas referred to the intellectual meeting place La Closerie des Lilas . Other street names were mystifying inventions, such as the rue de la Transfusion du Sang (street of blood transfusion) or the rue de Tous les Diables (street of all devils) .

mannequin
Max Ernst , 1938
Art object, photography by Man Ray

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Mannequin "La Housse"
Wolfgang Paalen , 1938
Art object, photography by Man Ray

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Masson's doll, whose head he wedged into a bird cage with red celluloid fish, received a lot of attention . She was gagged with a velvet ribbon with a pansy in the place of her mouth . Under the mannequin "from a bottom of coarse grains of salt grew small red peppers caught in traps , which stretched up to the sex of the mannequin like many tiny erections ." Marcel Duchamp equipped his mannequin with a man's felt hat, shirt, tie and jacket; a red lightbulb blinked in the breast pocket, below it was naked - "Rrose Selavy (Duchamp's alter ego) in one of her provocative and androgynous whims". Yves Tanguy hung them with phallus-like spindles , Man Ray provided his figure with thick tears and decorated its head with clay pipes and attached glass bubbles; Wolfgang Paalen used mushrooms and moss to overgrow his doll and also equipped it with a huge vampire-like bat; Óscar Domínguez placed a huge siphon next to his figure , from which a mighty stream of material shot. Max Ernst laid a lion-headed, paint-splattered, reclining man at the feet of his “black widow”. Her pulled-up skirt showed lingerie in which a lightbulb was supposed to burn, which Breton prevented. The visitors could only see at second glance that they were "artificial" women.

The central space of the productions

Visitors to the exhibition with flashlights
Photograph, 1938
Galerie Beaux-Arts, Paris

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The main room of the exhibition
Photograph, 1938
Galerie Beaux-Arts, Paris

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The installation “Avant la mare” by Wolfgang Paalen and Marcel Duchamps Kohlensäcke
Photograph, 1938
Galerie Beaux-Arts, Paris

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The most beautiful streets of Paris flowed into the main room. Duchamp had fitted the ceiling with 1,200 hanging sacks of coal that were stuffed with newspaper instead of coal, but a pungent black dust trickled down from them. They looked like modern stalactites inverting the categories of ceiling and floor. As Man Ray lighting in the room through festoon was not working during the evening of the opening, the visitors were forced to use the distributed them flashlights to find their way in the darkness of the room. Often they forgot to return them. Man Ray later remarked mockingly, “Needless to say, the flashlights were aimed more at people's faces than at the works themselves. As with every crowded opening, everyone wanted to know who else was there. "

In the area covered by Wolfgang Paalen with leaves and gently sloping floor there was a pond with water lilies and reeds and enthroned on a pedestal Brasero , one of the iron brazier on the terraces of Parisian cafes around which cafe winter visitors flocked often. In the corners of the room under gold-interwoven silk blankets stood four magnificent beds as a symbol of love, in front of one was an old chair covered with ivy, designed by Wolfgang Paalen as early as 1936 and on loan to Marie-Laure de Noailles in the exhibition that showed the Chaise envahie de lierre otherwise kept in her bathroom: symbol of the disempowerment of the male (throne) by female nature. Loudspeakers made oppressive noises, and soldiers marched on the march. The smell of coffee beans roasted on an electric stove behind a screen pervaded the room. In the front stood the object Jamais (Never) by Oscar Dominguez, a gramophone on the disk of which a simulated belly rotated and whose funnel, which tapered into an outstretched hand over the belly, protruded women's legs. Kurt Seligmann exhibited a stool on four women's legs entitled Ultra Furniture , and Georges Hugnet's La Table est mise was a table out of which a doll's head with blond hair grew. The walls, on the other hand, were decorated in the classic way with many programmatic paintings, drawings and collages such as Dalí's work The Great Masturbator . Duchamp's two revolving doors created a circulation of images. The aim of the staging was to transport the visitors into a world of surprises, madness and provocations and to design the exhibition as the walk-in incomprehensible.

Some historians see the entire installation, including Duchamp's blanket covered with empty sacks of coal, as the threatened situation of surrealism itself, reflected in the immediate threat of war, but on the other hand also as a kind of oversized uterus as a vademecum against the deeper reasons for the crisis that occurred in the paternalistic fixations of the entire epoch. Paalen's biographer Andreas Neufert in particular takes the latter reading and sees the installation as a symptom of an ideological shift within surrealism, away from Sigmund Freud's rigid theory of the Oedipus complex and towards ideas around Otto Rank's theory of birth trauma and his recognition of the emotional nature of the Child and his mother bond, who at that time represented only Paalen and his wife Alice Rahon in surrealism .

Contemporary reception

The Exposition Internationale du Surréalisme was a major social event that attracted the public in droves. On the evening of the opening, over 3000 people visited the exhibition; At times the crowd was so great that the police had to intervene. Even after that, an average of 500 people per day saw the show advertised as a spectacle. The exhibition attracted a predominantly bourgeois audience, including many foreign guests: “[At the opening] came the Tout-Paris of the premieres, then an extraordinary number of beautiful American women, German Jews and old, crazy English women [...] have never met people from World stepped on its feet like this [...]. "

Before the opening, Raymond Cogniat had explicitly announced an atmosphere of trepidation to the press: “It is an ascent into a mysterious world, where burlesque has less of its place than trepidation, where the laughter of the visitors hides their restlessness, where even their anger hides theirs Shows defeat. Surrealism is not a game, it is an obsession. "This hoped-for effect was only felt by the exhibition on a few visitors who, in exceptional cases, reported having heard a" feeling of restlessness, claustrophobia and the inkling of a terrible misfortune ". as Marie-Louise Fermet wrote in La Lumière . In Le Figaro littéraire , Jean Fraysee described a simultaneity of uncertainty, melancholy and black humor in the atmosphere - and thus confirmed that the exhibition organizers had achieved their goals.

In many other cases, however, the press was extremely negative about the “attempted craziness” of the Surrealists, who only had a “collection of sad jokes” to offer. Many journalists admitted that they did indeed react to the exhibits with laughter, not to cover up fear, but because they were reminded of “Carnival delights”. Several press reports pointedly emphasized the alleged harmlessness of the exhibition and described surrealism in an unflattering way as “art without danger”. Paris Midi magazine judged that the Surrealists were no longer enfants terribles , but merely “a group of nice guys who were nostalgic and underdeveloped” going about their work. For the art historian Annabelle Görgen, however, such reactions contained “too much polemics to be able to speak of a distanced, smiling 'amusement' […]. In the laughter there was rather a defensive stance, at least against the alogical. ”In the end, she rated the biting criticism of many newspapers as a success of the surrealists, since it would have manifested the anger that the artists wanted to evoke expressis verbis .

Most critics mocked individual objects, but misjudged the concept of the exhibition, which aimed at an overall experience. Even less biased commentators like Josef Breitenbach , one of the photographers who documented the exhibition extensively, picked out individual positions - quite praiseworthy - without being able to gain anything from the exhibition as a whole. He praised works by Duchamp, de Chirico, Miró, Ernst, Wolfgang Paalens and others, but still spoke of a “salad of outrageousness and tastelessness”. This harsh judgment is an example of the fact that what was actually innovative about the exhibition, the total staging, was barely recognized by contemporaries.

Significance for art history

Exhibition photographers

Knowledge about the exhibition is conveyed above all by the numerous photographs that have been preserved, such as those by Raoul Ubac , Josef Breitenbach, Robert Valencay, Man Ray , Denise Bellon and Thérèse Le Prat, the majority of which are not only in single images, but in entire image sequences the surrealistic mannequins. Man Ray documented the exhibition as a book in 1966. It was published in a limited edition under the title Résurrection des mannequins in Paris by Jean Petithory. In addition to an explanatory text, it contains 15 photographs as gelatin silver prints.

The doll as object art

The surrealist artists were particularly interested in the dolls. They echo the artist myth of Ovid's Pygmalion ; Pygmalion was a sculptor who created a perfect woman as a sculpture, fell in love with her, and asked Venus to bring the sculpture to life. Raoul Hausmann , artist of the Dada , from which Surrealism emerged, had already created an object head in 1919 with the title Mechanical Head - The Spirit of Our Time . This consisted of a redecorated paper mache head, which apprentice hairdressers used to learn how to make wig. The everyday object thus loses its usual function and experiences its transformation into an artistic idea. Hausmann was involved in the First International Dada Fair , which took place in Berlin in 1920. The German sculptor and photographer Hans Bellmer , who emigrated to Paris in 1938 and participated in the exhibition, had been experimenting with dolls since the early 1930s.

In early 2011, an exhibition at the Schirn Kunsthalle Frankfurt ran an exhibition entitled Surreal Things. Sculptures and objects from Dalí to Man Ray , including documentary photographs by Raoul Ubac and Denise Bellon of the mannequins. According to the Schirn, they “testify to the surrealists' passion for the iconography of the doll and reflect the desire for the sexualization of bodies through surrealistic methods such as combinatorics, veiling and revelation”.

The exhibition as a final manifestation

Salvador Dalí 1939, the excluded surrealist. Photographer: Carl van Vechten

The exhibition from 1938 was intended, intentionally or unintentionally, to prove to be the final climax and final manifestation of the surrealist movement, which once again gathered all its strengths to bundle its importance and the potential for challenge. The political circumstances as well as the personal, politically motivated differences - for example in 1938 between Breton and Éluard , who had come closer to Stalinism - prompted Éluard to resign from the surrealist group. Max Ernst and Man Ray joined him in solidarity. The final break between Breton and Dalí took place in 1939, and the temporary end of the surrealist community was sealed.

André Breton, 1924

During World War II , many artists sought exile in the United States; their influence was decisive for the later art styles such as Abstract Expressionism , Neo-Dada and Pop Art . In 1942, Breton and Duchamp - both emigrated from France - organized the exhibition First Papers of Surrealism in Manhattan .

When Breton and Duchamp opened the exhibition Le Surréalisme en 1947 in the Galerie Maeght in Paris after the war , Breton went back to the 1938 exhibition. He noted that, on the one hand, it was supposed to represent the surrealist project that was located on the border between poetry and reality, but on the other hand, it was also intended to illustrate the intellectual climate of 1938. According to Breton's biographer Volker Zotz , however, the exhibition in 1947 did not have the same effect as its Paris predecessor from 1938 and was criticized as being too exclusive. He described post-war surrealism as an “esoteric circle”, while much of what came from its roots would have achieved international recognition. Duchamp's biographer Calvin Tomkins described it as the “last hurray of the movement.” The post-war era found other outlets, existentialism in Europe and Abstract Expressionism in the United States .

Influence on the room staging from the 1960s

Within the history of the art exhibition, the rejection of the white gallery space of the modern age and the staging character, the equal use of artwork and found item, was a significant forerunner for the room staging and installations of the 1960s. In 1962, Jean Tinguely , Daniel Spoerri , Robert Rauschenberg , Martial Raysse , Niki de Saint Phalle , Per Olof Ultvedt and Pontus Hultén , as organizers, with Dylaby (dynamic labyrinth) in the Stedelijk Museum, directly linked to the character of the 1938 exhibition . With the exhibition BEUYS by the sculptor Joseph Beuys in the Museum Abteiberg in September and October 1967 as well as the exhibitions 50 3 (1600 Cubic Feet) Level Dirt by Walter De Maria in September and October 1968 in the gallery of Heiner Friedrich in Munich and Senza titolo (Dodici Cavalli Vivi) by Jannis Kounellis , who exhibited twelve living horses in the Galleria L'Attico in Rome in 1969, and others, the artist room and the artist exhibition, “based on surrealist practice, became a separate facility within the Medium Exhibition ”. This in turn resulted in the artist rooms of the 1980s.

Reconstructions

Partial reconstruction
The main room of the exhibition , 2009/10
Wilhelm Hack Museum, Ludwigshafen

Link to the picture
(please note copyrights )

From March to May 1995, a “homage” to the groundbreaking exhibition of 1938 took place in the Ubu Gallery in New York, which had been founded a year earlier . Exhibits, photographs and Duchamp's installation of the main room were shown.

Another reminiscence was presented by the Wilhelm Hack Museum in Ludwigshafen as part of their exhibition entitled Against All Reason. Surrealism Paris – Prague in 2009/10. It showed a partial reconstruction: You could see the main room with the coal sacks on the ceiling, leaves on the floor, ember basin and bed as well as paintings on the wall. A sound track filled the room with the sounds of marching soldiers and with "hysterical laughter". As in 1938, visitors had to view the interior with a flashlight.

The Fondation Beyeler in Riehen near Basel was the first comprehensive Surrealism exhibition in Switzerland to show works by the Surrealists from October 2, 2011 to January 29, 2012. with fictitious or real names. The exhibition was entitled Dalí, Magritte, Miró - Surrealism in Paris .

literature

  • André Breton, Paul Éluard: Dictionnaire abrégé du surréalisme. Photographies, illustrations, lettrines . Éditions Corti, Paris 1938, facsimile edition 1991, ISBN 2-7143-0421-4
  • Annabelle Görgen: Exposition Internationale du Surréalisme, Paris 1938. Bluff and deception. The exhibition as a work. Influences from the 19th century under the aspect of coherence . Schreiber, Munich 2008, ISBN 978-3-88960-074-5
  • Bernd Klüser, Katharina Hegewisch (ed.): The art of the exhibition. A documentation of thirty exemplary art exhibitions of this century . Insel, Frankfurt a. M. / Leipzig 1991, ISBN 3-458-16203-8
  • Uwe M. Schneede : The history of art in the 20th century. From the avant-garde to the present . CH Beck, Munich 2001, ISBN 3-406-48197-3
  • Uwe M. Schneede: The Art of Surrealism. Painting, sculpture, poetry, photography, film . CH Beck, Munich 2006, ISBN 978-3-406-54683-9
  • Reinhard Spieler, Barbara Auer (ed.): Against all reason. Surrealism Paris - Prague . Exhibition catalog, Belser, Stuttgart 2009, ISBN 978-3-7630-2537-4
  • Calvin Tomkins : Marcel Duchamp. A biography . Hanser, Munich, special edition 2005, ISBN 3-446-20110-6
  • Volker Zotz : André Breton. Rowohlt, Reinbek near Hamburg 1990, ISBN 3-499-50374-3

Web links

Individual evidence

  1. ↑ a b c d e Uwe M. Schneede: Exposition internationale du Surréalisme, Paris 1938 . In: Bernd Klüser, Katharina Hegewisch (Hrsg.): The art of the exhibition. A documentation of thirty exemplary art exhibitions of this century , p. 94
  2. ↑ Uwe M. Schneede: The history of art in the 20th century , p. 104
  3. ↑ L'Art surréaliste ( Memento from June 23, 2012 in the Internet Archive )
  4. ↑ Example of a mathematical-geometric model by Naum Gabo on display in the exhibition : Construction in Space (Crystal) , 1937–39, tate.org.uk, accessed on September 28, 2011
  5. ↑ Volker Zotz: Breton , Rowohlt, Reinbek 1990, p. 109
  6. ↑ Calvin Tomkins: Marcel Duchamp. A biography , p. 364
  7. ↑ Elena Filipovic: A Museum Which is Not ( Memento from September 19, 2011 in the Internet Archive ), www.e-flux.com, accessed on September 22, 2011
  8. ↑ a b c d Uwe M. Schneede: Exposition internationale du Surréalisme, Paris 1938 . In: Bernd Klüser, Katharina Hegewisch (Ed.), P. 100
  9. ↑ Brief description and cover of the Dictionnaire abrégé du surréalisme , tanguyves.free.fr, accessed on July 3, 2010
  10. ↑ Uwe M. Schneede, in: Bernd Klüser, Katharina Hegewisch (Ed.), P. 95
  11. ↑ Calvin Tomkins: Marcel Duchamp. A biography , p. 365 ff.
  12. ↑ B .: An art salon as Tollhaus , Münchner Abendblatt, No. 19, January 24, 1938, p. 2, quoted from Uwe M. Schneede, in: Bernd Klüser, Katharina Hegewisch (ed.), P. 97
  13. ↑ Torsten Otte: Salvador Dalì: a biography with personal testimonies from Königshausen & Neumann, Würzburg 2005, ISBN 978-3-826-03306-3 , p. 73
  14. ↑ a b Uwe M. Schneede, in: Bernd Klüser, Katharina Hegewisch (Ed.), P. 99
  15. ↑ a b c d e f Niels Werber , Ruhr-Universität Bochum (ed.): Lecture series Avant-garde of art and literature: Surrealism, artificial bodies, photography December 1, 1999, accessed on September 22, 2011
  16. ^ Biography of Dalí ( Memento of January 30, 2014 in the Internet Archive ), European Cultural Foundation , accessed on September 25, 2011
  17. ↑ Uwe M. Schneede: The history of art in the 20th century , p. 105
  18. ↑ Comte de Lautréamont influenced the theory of surrealism with the metaphor “As beautiful as the chance encounter between a sewing machine and an umbrella on a dissection table”. It comes from the sixth cant of the work Die Gesänge des Maldoror from 1874.
  19. ^ Max Ernst quoted from Uwe M. Schneede: The Art of Surrealism: Painting, Sculpture, Poetry, Photography, Film , google-books, accessed on September 26, 2010
  20. ↑ a b Uwe M. Schneede, in: Bernd Klüser, Katharina Hegewisch (Ed.), P. 96
  21. ↑ Volker Zotz: Breton , Rowohlt, Reinbek 1990, p. 111
  22. ^ Daniel Abadie: The International Surrealism Exhibition, Paris 1938 . In: Paris – Paris 1937–1957 , Munich 1981, p. 72, quoted from Uwe M. Schneede, in: Bernd Klüser, Katharina Hegewisch (ed.), P. 96
  23. ↑ Calvin Tomkins: Marcel Duchamp. A biography , p. 364 ff.
  24. ↑ Uwe M. Schneede: The Art of Surrealism: Painting, Sculpture, Poetry, Photography, Film , p. 208
  25. ↑ Calvin Tomkins: Marcel Duchamp. A biography , p. 365
  26. ↑ Man Ray: Selbstportrait , Munich 1963, p. 276. In: Niels Werber, Ruhr-Universität Bochum (Ed.): Lecture Series Avant-garde of Art and Literature: Surrealism, Art Body, Photography December 1, 1999, accessed on September 26, 2011
  27. ↑ Uwe M. Schneede: The history of art in the 20th century , p. 105
  28. ↑ Volker Zotz: Breton , Rowohlt, Reinbek 1990, p. 111
  29. ↑ Annabelle Görgen, Exposition Internationale du Surréalisme Paris 1938 , Munich 2008, see a. Chapter Wolfgang Paalen - Connection between exhibition design and individual objects , p. 113 ff.
  30. ↑ Andreas Neufert: On love and death. The life of the surrealist Wolfgang Paalen , Berlin (Parthas) 2015, pp. 236, 255f., 308, 312ff. and 335
  31. ↑ Reinhard Spieler, Barbara Auer (ed.): Against every reason. Surrealism Paris - Prague. Exhibition catalog, Belser, Stuttgart 2009, p. 19
  32. ↑ Annabelle Görgen: Exposition internationale du Surréalisme, Paris 1938. Bluff and deception. The exhibition as a work. Influences from the 19th century under the aspect of coherence . Schreiber, Munich 2008, p. 295
  33. ↑ La Grande , February 1938, quoted here from Annabelle Görgen: Exposition internationale du Surréalisme , Munich 2008, p. 303
  34. ^ Raymond Cogniat: L'Exposition surréaliste . In: Beaux-Arts , January 14, 1938, quoted from Annabelle Görgen: Exposition internationale du Surréalisme , p. 245
  35. ^ Marie-Louise Fermet: L'Exposition surréaliste . In: La Lumière , February 4, 1938, quoted from Annabelle Görgen, p. 246
  36. ↑ Jean Fraysee: Un art d'insolite grandeur . In: Le Figaro littéraire , January 29, 1938. See Annabelle Görgen, p. 253
  37. ^ Vendemiaire , January 26, 1938. Quoted from Annabelle Görgen, p. 291
  38. ↑ La Semaine à Paris , January 28, 1938. Quoted from Annabelle Görgen, p. 292
  39. ↑ Républicain du Haut-Rhin , January 24, 1938. Quoted from Annabelle Görgen, p. 295
  40. ↑ Quoted from Annabelle Görgen, p. 247
  41. ↑ Paris Midi , January 22, 1938. Quoted from Annabelle Görgen, p. 248
  42. ↑ Annabelle Görgen, p. 247
  43. ^ Josef Breitenbach: International Exhibition of Surrealists in Paris (1938). In: Theo O. Immisch (Ed.): Josef Breitenbach. Photographs. Retrospective for the 100th birthday, exhibition catalog, Schirmer / Mosel, Munich 1996, pp. 86–87.
  44. ↑ Princeton University Library: Graphic Arts ( Memento September 18, 2010 in the Internet Archive )
  45. ↑ The Spirit of Our Time , artnet.de, accessed on March 29, 2018
  46. ↑ Karin Thomas: Until today. Style history of the fine arts in the 20th century . Dumont, Cologne 2004, p. 127
  47. ↑ Konstance Crüwell: No Hummer for Nadia , www.faz.net, February 2, 2011, accessed on September 29, 2011
  48. ↑ Surreal things. Sculptures and objects from Dalí to Man Ray , www.schirn-magazin.de, accessed on September 28, 2011
  49. ↑ Uwe M. Schneede: The Art of Surrealism: Painting, Sculpture, Poetry, Photography, Film , p. 230
  50. ↑ L'Art surréaliste ( Memento from June 23, 2012 in the Internet Archive )
  51. ^ First Papers of Surrealism ( Memento of May 2, 2015 in the Internet Archive ), in: warholstars.org, accessed on September 5, 2012
  52. ↑ Volker Zotz: Breton , p. 127 f.
  53. ↑ Calvin Tomkins: Marcel Duchamp. A biography. P. 420 f.
  54. ↑ Uwe M. Schneede: The Art of Surrealism: Painting, Sculpture, Poetry, Photography, Film , p. 212
  55. ↑ Uwe M. Schneede, in: Bernd Klüser, Katharina Hegewisch (ed.), P. 101
  56. ↑ Ubu Gallery: Exposition Internationale du Surréalisme, Galerie Beaux-Arts, Paris 1938: An Homage ( Memento of January 26, 2015 in the Internet Archive )
  57. ↑ Eric Aichinger: The laying of the navel . Review at artnet , artnet.de, accessed on September 21, 2011
  58. ↑ Dalí, Magritte, Miró - Surrealism in Paris , www.fondationbeyeler.ch, accessed on October 15, 2011
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This article was added to the list of excellent articles on November 14, 2011 in this version .