REALISM (19TH Century)
Realism in art and literature is the depiction of fact or reality, rather than imaginary subjects. It was also a mid 19th century cultural movement that had its roots in France.
Cultural movement
In the visual arts and literature, realism is a mid-19th century movement, which started in France as a reaction to the idealism of Romanticism. The realists were influenced by Charles Darwin's discoveries in The Origin of Species.
Painting
Realists sought to render everyday characters, situations, dilemmas, and events; all in an "accurate" (or realistic) manner. Realism began as a reaction to Romanticism, in which subjects were treated idealistically. Realists tended to discard theatrical drama and classical forms of art to depict commonplace or 'realistic' themes.
SURREALISM (1923)
Surrealism is a cultural, artistic, and intellectual movement oriented toward the liberation of the mind by emphasizing the critical and imaginative faculties of the "unconscious mind" and the attainment of a state different from, "more than", and ultimately "truer" than everyday reality: the "sur-real", or "more than real". For many Surrealists, this orientation toward transcending everyday reality toward one that incorporates the imaginative and the unconscious has manifested itself in the intent to bring about personal, cultural, political and social revolution, sometimes conceived or described as a complete transformation of life by freedom, poetry, love, and sexuality. In the words of André Breton, generally regarded as the founder of surrealism: "beauty will be convulsive or not at all." At various times individual surrealists aligned themselves with communism and anarchism to advance radical political and social change, arguing that only transformed institutions of work, the family, and education could make possible a general participation the surreal. More recently some surrealists have participated in feminist and radical environmentalist activities for similar reasons.
The word "surreal" is often used colloquially to describe unexpected juxtapositions or use of non-sequiturs in art or dialog, particularly where such juxtapositions are presented as self-consistent .It is also used in everyday language to describe experiences that are highly unusual, that breach the conventions of everday life, that are dreamlike, or that manifest the logic of the unconscious. These usages are often independent of any direct connection to Surrealism the movement and are used in both formal and informal contexts. This usage has frequently been criticised, often strongly, by Surrealists.
Surrealist philosophy emerged around 1920, partly as an outgrowth of Dada, with French writer André Breton as its initial principal theorist.
In Breton's Surrealist Manifesto of 1924 he defines Surrealism as:
Dictionary: Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, or in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.
Encyclopedia: Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life."
Breton would later qualify the first of these definitions by saying "in the absence of conscious moral or aesthetic self-censorship", and by his admission, through subsequent developments, that these definitions were capable of considerable expansion.
Like those involved in Dada, adherents of Surrealism thought that the horrors of World War I were the culmination of the Industrial Revolution and the result of the rational mind. Consequently, irrational thought and dream-states were seen as the natural antidote to those social problems.
While Dada rejected categories and labels and was rooted in negative response to the First World War, Surrealism advocates the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic. The Marxist dialectic and other theories, such as Freudian theory, also played a significant role in some of the development of surrealist theory and, as in the work of such theorists as Walter Benjamin and Herbert Marcuse, surrealism contributed to the development of Marxian theory itself.
The Surrealist diagnosis of the "problem" of the realism and capitalist civilization is a restrictive overlay of false rationality, including social and academic convention, on the free functioning of the instinctual urges of the human mind.
Surrealist philosophy connects with the theories of psychiatrist Sigmund Freud. Freud asserted that unconscious thoughts (the thoughts of which one is not aware) motivate human behavior, and he advocated free association (uncensored expression) and dream analysis to reveal unconscious thoughts.
It is through the practice of automatism, dream interpretation and numerous other surrealist methods, that Surrealists believe the wellspring of imagination and creativity can be accessed.
Surrealism also embraces idiosyncrasy, while rejecting the idea of an underlying madness or darkness of the mind. Salvador Dalí, who is considered to have been quite idiosyncratic, explained it as "The only difference between myself and a madman is I am not MAD!"
Surrealists look to so-called "primitive art" as an example of expression that is not self-censored.
The radical aim of Surrealism is to revolutionize human experience, including its personal, cultural, social, and political aspects, by freeing people from what is seen as false rationality, and restrictive customs and structures. As Breton proclaimed, the true aim of Surrealism is "long live the social revolution, and it alone!".
To this goal, at various times Surrealists have aligned with communism and anarchism.
Not all Surrealists subscribe to all facets of the philosophy. Historically many were not interested in political matters, and this lack of interest created rifts in the Surrealism movement.
By the turn of the 21st century, Surrealist philosophy varied amongst Surrealist groups around the globe. Some Surrealist theorists have stated that Surrealism has somehow "gone beyond" or "superseded" philosophy, or that philosophy has been "outclassed" by Surrealism.
In general usage, the term Surrealism is more often considered a movement in visual arts than the original cultural and philosophical movement. As with some other movements that had both philosophical and artistic dimensions, such as romanticism and minimalism, the relationship between the two usages is complex and a matter of some debate outside the movement. Many Surrealist artists regarded their work as an expression of the philosophical movement first and foremost, and Breton was explicit in his belief that Surrealism was above all a revolutionary movement. In addition, many surrealists and surrealist documents have declared that surrealism is not an artistic movement for a number of additional reasons, among which is the conception of the "artistic" manifestations of surrealism as just one form of manifestation among many, various conceptions of visual work being created which somehow "goes beyond" traditional conceptions of art or aesthetics, or even the complete cessation of creative visual production. In addition, the art object/product - while an important part of the Surrealist process - is viewed as merely a "souvenir" of a vastly more critical journey, interesting only in so far as it is revelatory of that adventure.
Surrealism in visual arts
Since so many of the artists involved in Surrealism came from the Dada movement, the demarcation between Surrealist and Dadaist art, as with the demarcation between Surrealism and Dada in general, is a drawn differently by different scholars.
The roots of Surrealism in the visual arts run to both Dada and Cubism, as well as the abstraction of Wassily Kandinsky and Expressionism, as well as Post-Impressionism. However, it was not the particulars of technique which marked the Surrealist movement in the visual arts, but an the creation of objects from the imagination, from automatism, or from a number of Surrealist techniques.
Masson's automatic drawings of 1923, are often used as a convenient point of difference, since these reflect the influence of the idea of the unconscious mind.
Another example is Alberto Giacometti's 1925 Torso, which marked his movement to simplified forms and inspiration from pre-classical sculpture. However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Von minimax dadamax selbst konstruiertes maschinchen with Le Baiser from 1927 by Max Ernst. The first is generally held to have a distance, and erotic subtext, where as the second presents an erotic act openly and directly. In the second the influence of Miró and Picasso's drawing style is visible with the use of fluid curving and intersecting lines and colour, where as the first takes a directness that would later be influential in movements such as Pop art.
Giorgio de Chirico was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between 1911 and 1917, he adopted a very primary colour palette, and unornamented epictional style whose surface would be adopted by others later. La tour rouge from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His 1914 La Nostalgie du poete has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief which defies conventional realistic explanation. He was also a writer. His novel Hebdomeros presents a series of dreamscapes, with an unusual use of punctuation, syntax and grammar, designed to create a particular atmosphere and frame around its images. His images, including set designs for the Ballet Russe, would create a decorative form of visual Surrealism, and he would be an influence on the two that would be even more closely associated with Surrealism in the public mind: Dalí and Magritte.
In 1924, Miro and Masson applied Surrealism theory to painting explicitly leading to the La Peinture Surrealiste Exposition at Gallerie Pierre in 1925, which included work by Man Ray, Masson, Klee and Miró among others. It confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), techniques from Dada, such as photomontage were used.
Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s.
1930s
Dalí and Magritte created the most widely recognized images of the movement. Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935.
Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer.
1931 marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's La Voix des airs is an example of this process, where three large spheres representing bells hanging above a landscape. Another Surrealist landscape from this same year is Tanguy's Palais promontoire, with its molten forms and liquid shapes. Liquid shapes became the trademark of Dalí, particularly in his The Persistence of Memory, which features the image of clocks that sag as if they are made out of cloth.
The characteristics of this style: a combination of the depictive, the abstract, and the psychological, came to stand for the alienation which many people felt in the modern period, combined with the sense of reaching more deeply into the psyche, to be "made whole with ones individuality".
Long after personal, political and professional tensions broke up the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. This program reached beyond painting, to encompass photography as well, as can be seen from a Man Ray self portrait, whose use of assemblage influenced Robert Rauschenberg's collage boxes.
During the 1930s Peggy Guggenheim, an important art collector married Max Ernst and began promoting work by other Surrealists such as Yves Tanguy and the British artist John Tunnard. However, by the outbreak of the Second World War, the taste of the avant-garde swung decisively towards Abstract Expressionism with the support of key taste makers, including Guggenheim. However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during WWII. In particular, Arshile Gorky influenced the development of this American art form, which - as Surrealism did - celebrated the instantaneous human act as the well-spring of creativity. The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of Dadaistic humor in such artists as Rauschenberg sheds an even starker light upon the connection. Up until the emergence of Pop Art, Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism.
World War II and beyond
As with many artistic movements in Europe, the coming of the Second World War proved disruptive: both because of the rift between Breton and Dalí over Dalí's support for Francisco Franco, and because of a diaspora of the members of the Surrealist movement itself. Dalí said to remain a Surrealist forever was like "painting only eyes and noses", and declared he had embarked on a "classic" period; Max Ernst in 1962 said "I feel more affinity for some German Romantics". Magritte began painting what he called his "solar" or "Renoir" style.
The works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. (In 1960, Magritte, Duchamp, Ernst, and Man Ray met in Paris.) While Dalí may have been excommunicated by Breton, he neither abandoned the themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive "pompier". His classic period did not represent so sharp a break with the past as some descriptions of his work might portray.
During the 1940s Surrealism's influence was also felt in England and America. Mark Rothko took an interest in bimorphic figures, and in England Henry Moore, Lucian Freud, Francis Bacon and Paul Nash used or experimented with Surrealist techniques. However, Conroy Maddox, one of the first British Surrealists, beginning in 1935, remained within the movement, organizing an exhibition of current Surrealist work in 1978, in response to an exhibition which infuriated him because it did not properly represent Surrealism. The exhibition, titled Surrealism Unlimited was in Paris, and attracted international attention. He held his last one man show in 2002, just before his death in 2005.
Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in 1951's Personal Values and 1954's Empire of Light. Magritte continued to produce works which have entered artistic vocabulary, such as Castle in the Pyrenees which refers back to Voix from 1931, in its suspension over a landscape.
Other figures from the Surrealist movement were expelled, Roberto Matta for example, but by their own description "remained close to Surrealism."
Many new artists explicitly took up the Surrealist banner for themselves, some following what they saw as the path of Dalí, others holding to views they derived from Breton. Duchamp continued to produce sculpture and, at his death, was working on an installation with the realistic depiction of a woman viewable only through a peephole. Dorothea Tanning and Louise Bourgeois continued to work, for example with Tanning's Rainy Day Canape from 1970.
The 1960s saw an expansion of Surrealism with the founding of The West Coast Surrealist Group as recognized by Breton's personal assistant Jose Pierre and also Surrealist Movement in the United States.
That Surrealism has remained commercially successful and popularly recognized has lead many people associated with the Breton's Surrealist group to criticise more general uses of the term. They argue that many self-identified Surrealists are not grounded in Breton's work and the techniques of the movement.
Surrealistic art remains enormously popular with museum patrons. In 2001 Tate Modern held an exhibition of Surrealist art that attracted over 170,000 visitors in its run. Having been one of the most important of movements in the Modern period, Surrealism proceeded to inspire a new generation seeking to expand the vocabulary of art.
SYMBOLISM
Symbolism is the systematic or creative use of arbitrary symbols as abstracted representations of concepts or objects and the distinct relationships in between, as they define both context and the narrower definition of terms. In a narrow context, "symbolism" is the applied use of any iconic representations which carry particular conventional meanings.
The term "symbolism" is often limited to use in contrast to "representationalism"; defining the general directions of a linear spectrum wherin all symbolic concepts can be viewed in relation, and where changes in context may imply systemic changes to individual and collective definitions of symbols. "Symbolism" may refer to a way of choosing representative symbols inline with abstract rather than literal properties, allowing for the broader interpretation of a carried meaning than more literal concept-representations allow.
All forms of language are innately symbolic, and any system of symbols can form a "language;" at the minimum using only two arbitrary symbols in a binary system. Human language is based in the use of phonemes as representative symbols, and the analogous written forms are typically deferential to the phoneme. The written word is therefore symbolically representative of both the symbolic phoneme and directly to the cognitive concept which it represents. The field of cognitive linguistics explores the cognitive process and relationships between different systems of phonetic symbols to indicate deeper processes of symbolic cognition.
A religion can be described as a language of concepts related to human spiritualism. Symbolism hence is an important aspect of most religions.
Many cultures have developed complex symbolic systems, often referred to as a symbolic system, which assign certain attributes to specific things, such as types of animals, plants or weather.
The interpretation of abstract symbols has had an important role in religion and psychoanalysis.
As envisioned by Sigmund Freud and Carl Jung, symbols are not the creations of mind, but rather are distinct capacities within the mind to hold a distinct piece of information. In the mind, the symbol can find free association with any number of other symbols, can be organized in any number of ways, and can hold the connected meanings between symbols as symbols in themselves. Jung and Freud diverged on the issue of common cognitive symbol systems and whether they could exist only within the individual mind or among other minds; whether any cognitive symbolism was defined by innate symbolism or by influence of environment.
In literature, "symbolism" may refer to the use of abstract concepts, as a way to obfuscate any literal interpretation, or to allow for the broader applicability of the prose to meanings beyond what may be literally described. Many writers, in fact most or all authors of fiction, make symbolic use of concepts and objects as rhetorical devices central to the meaning of their works.
Joseph Conrad and James Joyce, for example, used symbolism extensively, to represent themes which applied to greater contexts in their contemporary politics and society.