Surrealism as a way of looking at life - Essay Example

SURREALISM: This paper critically explores the assertions that surrealism is a way of looking at life, in a political, social, philosophical, as well as aesthetic manner, and it is not a visual style or idea. Brodskai︠a︡ (13) explains that surrealism is a cultural movement that can be traced back to the early years of 1920s. Eburne (39) goes on to denote that this cultural movement was associated with writings and visual artworks. The major purpose and objectives of this cultural movement was to resolve the previous contradictions regarding reality and dreams. During this movement, Greet (425) denotes that artists were able to paint illogical, unnerving scenes that had photographic precisions. Furthermore, artists were able to create strange creatures, from common objects. From this objects, Toman and Jindřich (19) explains that artists were able to develop painting techniques that had the capability of allowing the unconscious self to express an idea, a concept, or even itself. Castant (170) further explains that works of surrealism constantly feature elements of surprise, non sequitur, as well as unexpected juxtaposition. However, Greet (426) denotes that majority of surrealist writers and artists normally regard their works of art as an expression of a philosophical movement, and this is before regarding these works as an artifact. On this basis, writers and artists of surrealism view this concept as a revolutionary movement. Brodskai︠a︡ (19) traces the emergence of this movement to the Dada activities that were conducted during the 1st World War. Furthermore, Toman and Jindřich (18) denotes that Paris played a great role in the emergence of this movement, because it was the center where artists were able to converge, and express their feelings and artistic works. From the year 1920, Surrealism was able to spread all over the world, affecting works in music, literature, film, as well as visual arts. Brodskai︠a︡ (17) further denotes that surrealism has affected areas such as politics, philosophy, aesthetics, as well as other social elements of an individual’s life. Castant (170) denotes that surrealism is an idea and movement that came to prominence during the 20th century, and it emanated from a literary movement which emanated from a manifesto referred to as the Surrealist Manifesto. This manifesto came into existence in the year 1924, and it was advocated by Andre Breton. Other theorists that supported this manifesto include Sigmund Freud. Michael Lloyd gives an argument that surrealism was actually a lifestyle that had the determination of a marvelous ways of life, as opposed to a captivating genre or style in which various scholars as well as artists recognize it. Furthermore, Michael Lloyd argues that there was no agenda that was put in place by the Surrealists, during the emergence of this movement. This is until 1925 when Andre Breton was able to emerge. Castant (169) denotes that Breton was able to passively refer to paintings as means and methods of representing various ideas that belonged to him. Based on this reference, other artists, such as Max Ernst, Renee Magritte were able to explore this theory while coming up with their works. On this basis, Castant (171) explains that many artists began using paintings as a method of expressing their emotions, feelings, as well as various ideas that they had. This led to the development of different stylistics features of art. This is mainly because artists had different ideas, concepts, and artistic skills. For example, Max Ernst in coming up with his artistic figures, he uses a simplification of objects that are initiated from a non-conscious approach. On the other hand, Renee Magritte uses a concept referred to as hyper realism to develop his pieces of art. This concept is very effective in stimulating the various perceptions of reality. Rene Magritte on the other hand used a realistic approach in coming up with his artistic works. On the other hand, Salvador Dali, another prominent surrealist artist was able to use his painting for purposes of expressing ideas such as luxurious living, fancy clothes, as well as popular cultures. For instance, Salvador Dali was able to paint a painting referred to as, “the persistence of memory” (Dali, 13). Salvador Dali was able to paint this picture in 1931, and it is on most occasions used to refer to popular culture. On this basis, Salvador Dali was expressing an idea. Based on these arguments, Aberth and Leonora (21) denote that most surrealist artists used their skills to develop artistic works that had themes and ideas. On this note, Büttner (31) explains that Michael Lloyd is wrong when he asserts that surrealism did not represent any visual idea or style. Büttner and Suisse (36) further goes on to denote that despite a wide range of visual differences that existed amongst the various surrealist artists, theories, ideas, and concepts are the factors that motivated them to come up with their artistic works. Büttner (33) explains that this situation is clearly depicted in Dali’s use of hyper realism, Max Ernst use of texture and frottage as methods of communication, etc. On this basis, Aberth and Leonora (22) explains that the main aim of this movement was to express ideas, concepts, as well as issue out information. This is an idea that Kadri (14) vigorously denies, and he explains that surrealism is a political, aesthetic, social, as well as a philosophical method of looking at life. Aberth and Leonora (26) denotes that the political aspects of surrealism are depicted in ideologies such as anarchist, communist, as well as trotskvist. For instance, Büttner (38) explains that most artists who adhered to the principles of surrealism believed in communism. Furthermore, Mcara (218) explains that famous surrealists such as Andre Breton and his followers provided support to Leon Trotsky, and his movement, International Left Opposition. It is important to give an explanation that Trotsky was a revolutionary Marxist, who was competing for power with Joseph Stalin, the leader of the Soviet Union. On the other hand, some surrealists such as Mary Low, Benjamin Peret, as well as Juan Brea were able to align themselves with the leftist communism. On the other hand, Dali was a firm supporter of capitalism, and a firm supporter of Francisco Franco, a fascist dictator. Due to his believes, Breton and his followers denoted that Dali had left surrealism, and this is because he betrayed their cause. Based on these analyses, Marcovitz (35) denotes that surrealism was a political way of life, and not a method of expressing ideas, issues, as well as concepts. This is because the major leaders of this movement and this includes people like Breton, Dali, Low, Peret, identified themselves with a political movement that is communism. When Dali changed his belief to Fascism, he was considered as an individual who betrayed the principles of surrealism. On this basis, Marcovitz (33) explains that surrealism is a concept that is associated with communism. Furthermore, Mcara (216) denotes that surrealism is a social movement that plays a great role in promoting popular culture and social movements. For example, during the last half of the 20th century, surrealism influenced greatly the manner in which people lived. For instance, a group of writers referred to as the beat generation who emerged during the periods of were mainly influenced by the ideas and principles of surrealism. Examples of these writers include Ted Joans, Philip Lamantia, Gregory Corso, Bob Kaufman, William Burroughs, etc (Marcovitz, 41). It is important to understand that novels are very important tools of social interactions. This is because novelists usually provide very important information in their books, which people can use for their daily living. Furthermore, Aberth and Leonora (12) explains that this artistic movement was social in nature because various exhibitions were always held for purposes of show casting the various skills that surrealist artists had. For example, major exhibitions were held in 1936, and 1938. The social nature of surrealism is also depicted when during the 1920s, when members of this group were able to meet in cafes, discussing theories that surrounded this concept of surrealism, and developing other surrealist techniques and an example is automatic writing, and this type of writing was used to express the concept of subconscious. This is an aspect of philosophy. Mcara (215) further explains that surrealism is an aspect that promotes aesthetic values. For instance, works of painters such as Salvador Dali used to depict elegance, beauty, and were neatly painted making them very attractive to the eyes. Furthermore, surrealists were able to use artistic devices that were able to make their artistic works beautiful. This is a concept of aesthetics. In conclusion, surrealism was a movement that was used to depict political, social, philosophical, as well as aesthetic methods of living. This is because the main leaders of this movement were engaged in these issues, and an example is Breton, who is considered as a leader of this movement. This artist had a political view; that was communism, and all his followers had to ascribe to this political belief. In fact, anyone who did not believe in communism was seen as having left the movement. An example is Salvador Dali, who supported Fascism, and was seen to have betrayed the cause of the movement. Furthermore, the activities of these artists was able to depict a social character, and this is because of the various meetings they formed for purposes of advocating for the movement. Works Cited: Aberth, Susan L., and Leonora Carrington. Leonora Carrington: surrealism, alchemy and art. Aldershot, Hampshire: Lund Humphries ;, 2004. Print. Brodskai︠a︡, N. V.. Surrealism genesis of a revolution. New York: Parkstone International, 2012. Print. Büttner, Philippe. Surrealism in Paris. Ostfildern: Hatje Cantz, 2011. Print. Büttner, Philippe, and Suisse Riehen. Surrealism in Paris exhibition, Riehen-Basel, foundation Beyeler, october 2, 2011 - january 29, 2012. Ostfildern: Hatje Cantz, 2011. Print. Castant, Alexandre. "Surrealism and Imagery." Critique d’art 12.20 (2012): 168-170. Print. Dalí, Salvador. Salvador Dali. London: Tate Gallery Publications Dept., 1980. Print. Eburne, Jonathan P.. Surrealism and the art of crime. Ithaca: Cornell University Press, 2008. Print. Greet, Michele. "Surrealism And The Spanish Civil War." Rethinking History 13.3 (2009): 424 -428. Print. Kadri, Raihan. Reimagining life: philosophical pessimism and the revolution of surrealism. Madison [N.J.: Fairleigh Dickinson University Press ;, 2011. Print. Marcovitz, Hal. Surrealism. Detroit: Lucent Books, 2008. Print. Mcara, Catriona. "Surrealism as Epistemology." Art History 34.1 (2011): 214-218. Print. Toman, Jindřich, and Jindřich Heisler. Jindřich Heisler: surrealism under pressure, 1938-1953. Chicago, Ill.: Art Institute of Chicago ;, 2012. Print. Read More