Page 55 - Studio International - October 1970
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together only surrealist artists in the strictly defined by the means used, but by a new and which seizes the images seen in the dreamlike
`Surrealist' sense of the word, that is to say, revolutionary concept of existence extended state and its goal is to show the `sur-real'
those who adhered intellectually and morally to to include the individual's moral behaviour relationship which links objects between
Surrealism. Intentionally, we decided to put, before applying it to his creative behaviour. themselves. It must therefore suggest and not
side by side, not only the artists who 'created' For Marcel Lecomte,2 the surrealist artist state. It does not define anything, 'it is the
Surrealism in our country, but also those who is the one who 'does not consider himself springboard, the magic wand, the spring in the
bear the surrealist label. Furthermore, we have as a writer or a painter destined for creative box of tricks. After it, the deluge ...When the
included those who at a certain moment— individuality, but as part of a shared image links two extremes, two opposites of
sometimes a very brief one—of their existence psychological and ethical climate'. As a result, reality; it shows the cohesion, the constant
did belong to this new form of knowledge which surrealist works —be they poetry or painting— co-operation of the individual parts (in concrete
shook the world. And those too, still closer to must not be considered as the 'creative outcome terms) of a whole, which is, furthermore,
our time, who in turn sought to discover the of a man marked by individual solitude, but, itself accidental'.5 All real objects being
intangible and the wondrous. Most of them on the contrary, as works influenced by the linked by invisible strands, the surrealist
belong to movements which after the Second shared lyrical and poetic climate'. Within the image exploits the latent bond which transforms
World War brought together men whose ideas surrealist experience itself, other forms of reality into something `sur-real'. When
were very often close to those of a Magritte Surrealism should also be distinguished. Magritte paints a bird in flight and a nest full
or of a Mesens at the height of the surrealist René Passeron3 speaks of doctrinal Surrealism of eggs, there is but a step from one to the
period. This exhibition does not, in any way, which may be grasped by reading tracts other, yet they are bound by a `sur-real'
attempt to be homogeneous. We do not pretend and magazines; of the Surrealism of poets in relationship. He explains this relationship while
to do more here than put the works displayed in which the individual personality plays a more at the same time withdrawing behind its
historical perspective, to give them their prominent role; of the Surrealism of manners mystery: 'My concept of painting is narrowly
rightful place in the history of art as seen and morals which deals with the kinds of life limited to the juxtaposition of colours in such a
through the surrealist movement. Despite Surrealists led as a group; and finally of way that their obvious aspect disappears and
misfortunes Surrealism did not disappear after pictorial Surrealism which deals exclusively lets an image, that I call poetic, appear and
1940, but instead grew and, as Marcel with painting but whose international which corresponds to the natural curiosity we
Havrenne wrote 'though its flashes of language has enabled Surrealism to spread like have for the unknown. In this image familiar
lightning no longer have the same brilliance, a large oil slick. Throughout his writings, forms of the visible are brought together. This
it may nevertheless be surmised that they will Breton speaks of chance, of desire, of image is the complete description of an
never die out'. dream, of imagination, of the domination of efficient way of thinking which justifiably brings
the subconscious and of mystery as the mystery directly to mind. I am not concerned
WHAT IS SURREALISM ? keys to the surrealist universe. with wresting secrets but with discovering
From its inception, the word 'Surrealism' Living as it did in a dream world, reaching means for painting images whose unknown
became a household word; it has been used and close to the subconscious and challenging cannot be reduced to the known'.6
abused. Today, it can be found in advertising chance, Surrealism was bound to surround
contexts as well as in art books. We ordinarily itself with a halo of mystery sustained by the SURVEY OF BELGIAN ACTIVITY
speak of surrealist, surrealising, sur-real ... but mystification of everything connected with a) The adventure of the surrealist group of Brussels.
if an accurate definition is required, we its method. When Magritte, in an attempt to For Paris, the year 1924 was marked by
quickly see that the problem needs clarification. be explicit wrote, three months before his the publication of Breton's manifesto
Surrealism is more than just a school or death:4 'The Surrealists have never refused to which heralded the official birth of Surrealism.
movement, for according to Marcel Duchamp define their thoughts ... and what are they if For Belgium, it was also a significant year.
`movements begin with the formation of a not mysterious ? Mystery is their very nature', In Brussels, a handful of avant-garde artists
group and end with the scattering of the he for a moment suggested the possibility of carried on a discreet, mysterious, even secret
individual members' and yet the surrealist clarification, lifted a corner of the curtain, but activity. Paul Nougé was the instigator and
movement remains very much alive. Rather, it quite rapidly retracted himself: 'Of mystery, I unquestioned leader. Around him we find
can be defined as the attitude man takes when cannot deduce anything, it would be to fail to Camille Goemans and Marcel Lecomte,
faced with life's problems; above all it is the recognize its true nature. The similarity of the two other poets.
acceptance of rules of life which put one individual figures of familiar visible forms do, Nougé immediately suggested to his two
outside and beyond the world. One 'is surrealist', in fact, evoke their mystery.' friends that the ideas and opinions they had
one belongs, not to a movement or a group but After having attempted to define Surrealism during their discussions concerning books by
to specific ethics or moral rules. That is why and its ethical philosophy, we should deal Breton, Paulhan, Eluard, Valery or Proust
Surrealism is not the work of a single individual specifically with creative Surrealism and the be given a wider audience through leaflets.
but rather that of a collective experience, even ideas determining the formulation of the This endeavour seemed very attractive to them
if at the beginning, it started as the venture of a so-called surrealist image. Let us first lay down and the first issue of Correspondance was
handful of men. To be a Surrealist, André the guiding principle: the artist reveals in published on 22 November 1924. It was written
Breton was to say in 1929, is to have broad daylight what he has seen in the 'night' of by Nougé himself as `A reply to an investigation
`unwavering faith in the commitments of his mind. Let us recall that he does so quite on modernism'. Correspondance was to be
Surrealism' which implies 'a detachment, a freely, without any hindrances or taboos, published three times a month, written in turn
contempt of risk, a refusal to compromise—an trusting the unbridled imagination and the by Nougé, Goemans and Lecomte. They
attitude that very few men, in the long run, surrealist credo : were one-page tracts, printed on loose sheets
show themselves capable of'. Thus he who of paper of different colours, each bearing as a
claims to be a Surrealist must give up making L' esprit contre la raison (R. Crevel) title the name of the colour, followed by the
small concessions in everyday life and as the (The mind against reason) number of the issue, thus : blue 1, pink 2,
demands of purity become more and more green 3, etc.
imperious the pressure which has built up will L'oeil existe à l' état sauvage (A. Breton) The second significant fact for
often require that an irreversible choice be (The eye exists in an untamed state) Correspondance was represented, not by a
made. departure but by an arrival, i.e. that of André
Surrealism should not, therefore, be The surrealist image is the trompe l'oeil Souris who brought the musical element to a
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