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Illustrated survey of the good pursuits of Dada and Surrealism, describing their beginning and improvement, their philosophies, the artworks they produced, and their contribution to the artwork of the current.

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The first level paint the less than I 6 subconscious. "" Such pic- "by such natural psychic automatism that ass for I unfastened, itself Hoe beginning of the area had caused Breton to as in rac is I my girl or a chook as or recommend i the main 'surrealist' people all. """ yet . ltomatism used to be no longer natural, nor whilst speedy or contrary 87 joan miro. The start of the realm. (1925). Oil on canvas. s four inches. assortment Rene Gaffe. Cagnes-surj inch x 6 toes four eight toes Mer sixty eight ' (Alpes-Maritimes). France A 88 left S9 ri^ht joan miro. . \L;>i with a Pipe. 1925. Oil on canvas, fifty seven" joan miro. Antomatcn. 1924. Pen and ink. 1 eight * forty five inches. inner most assortment x 24 inches. assortment Mr. and Mrs. Morton G. Neumann, Chicago 70 L joan miro. Spanish Dancer. 1928. Pasted paper and charcoal. 4c 9C left ninety one correct joan miro. Spanish Dancer. 1928. university of sandpaper, Neumann, Chicago string, 1 - and Mrs. Morton G. seventy one 2S inches. assortment Mr. nails. forty-one three 1 26' 1 and Mrs. Alfred Richet. Paris inches. assortment Mr. and 92 ANDX A:t:onza::c Drawing. (1924). Ink. 1 nine * \ S inches. deepest assortment a passable aesthetic constitution, yet ing the quick Masson's ter. circulation line consistently with no halt- of the pen. quick took on a really specific charac- not like Miro's comfortable and sensuous lyricism, Masson's unexpected redirections and regularly convoluted and angular contours, which admitted no revisions, conveyed a feeling of overwhelming urgency and conflicting impulses. The seismographic nature of the markings sug- gested a hand responsive to the such a lot minute adaptations in the psyche. even if Miro were capable of finding a fashion of accomhis easygoing automatism to the chances of oil portray via the start of 1925, Masson appeared un- modating in a position to notice his pressing draftsmanship with brush paint. Xor may possibly he erotic impulses into whatever just like the he inherited from Analytic Cubism. his new and and translate his strong competitive formal vocabulary It was once inevitable that poetic material may still engender adjustments in the calm architectural scaffolding he have been utilizing; and if he couldn't at the least swap make its his portray computerized, he may motifs and morphology. simply as Miro's artificial Cubism all started in 1924 to assimilate a myth content material, and its new attendant biomorphism, so the Analytic Cubism of Masson steadily accommodated imagery of a sort by no means reflected via the originators of the fashion. The torso in e Massort: 1924-1929 self as shape in this (fig. in in draw- brain. Letting his pen trip quickly around the paper in a medi- umist type, he quickly came upon tricks of pictures y — anatomical — and gadgets manifesting themselves in the eb. occasionally those clues have been a bit of de- awake embellishments with the pen, yet they eft in an ambiguous alterations and additions have been now not resolved made kingdom; on the to endow it- an Earth mom whose botanical "organs" have work with the discoveries of computerized drawing.

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