18411701
| Pregunta | Respuesta |
| André Masson, Battle of Fishes, 1926, sand, gesso, oil, pencil, and charcoal on canvas random lines and sand on glue that he would then base his larger artwork on. biomorphic "sand painting" | |
| Max Ernst, Attirement of the Bride, 1940, oil on canvas bird man = self potrait back to 3D shapes still somewhat by chance | |
| Joan Miró, Carnival of Harlequin, 1924-1925, oil on canvas cubist influences dreamlike state eyes closed (?) | |
| Méret Oppenheim, Object (Luncheon in Fur), 1936, fur-covered cup, saucer, and spoon somehow sexual??? how?? | |
| Pablo Picasso, Large Nude in Red Armchair, 1929, oil on canvas "convulsive beauty" women as terrifying monsters coincide to when his marriage was falling apart | |
| Salvador Dalí, Accommodations of Desire, 1929, oil and collage on panel still obsessed with the passage of time and death | |
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Image:
Large (binary/octet-stream)
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Henri Cartier-Bresson, Behind the Gare Saint-Lazare, 1932, gelatin-silver print now able to capture the spontaneous moment |
| Surrealism | The 1920s-1960s originated in France but quickly spread. influenced heavily by Freud's theories. escape from the rational/conscious mind and art. irrational and anti art --> means of exploring the unconscious mind |
| André Breton | Manifesto of Surrealism (1924) the self-appointed leader of the surrealists |
| Sigmund Freud | f |
| decalcomania | the process of transferring designs from prepared paper on to glass or porcelain. a technique used by some surrealist artists which involves pressing paint between sheets of paper. |
| Paranoiac-critical method | The Paranoiac Critical method was a sensibility, or way of perceiving reality that was developed by Salvador Dalí. moving from one hallucinatory dream to the next |
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