Paul Keegan

The triumph of surrealism

Paul Keegan celebrates the 100th anniversary of one of the most successful –isms of all

Clockwise from top-left: Maxime Alexandre, Aragon, Breton, Bunuel, Jean Caupenne, Éluard, Marcel Fourrier, Magritte, Albert Valentin, André Thirion, Tanguy, Georges Sadoul, Paul Nougé, Camille Goemans, Ernst, Dali. The montage – Magritte’s‘I can’t see the (woman) hidden in the forest’, surrounded by Man Ray photographs – was published in the final issue of the Surrealist Revolution magazine in 1929. © Archives Charmet / Bridgeman Images / © Man Ray 2015 Trust / DACS, London 2024 
issue 19 October 2024

When Max Ernst was asked by an American artist to define surrealism at a New York gathering of exiles in the early 1940s, he pointed across the room at André Breton and said: ‘That is surrealism.’ Even today it can seem as if no other answer is available, so tenacious was his grip. A former student of neurology and psychiatry, with no qualifications other than an instinct for the coming thing (‘an astute detector of the unwonted in all its forms’, as he later described his fellow conspirator Louis Aragon), Breton encountered the early writings of Freud as a medical orderly on a trauma ward, during the first world war, and immediately recognised the significance of his work.

Surrealism was in the first place a delayed response to how ordinary life had been exploded by the carnage of 1914-18. The dadaists prepared the ground with their charge that rationality itself had led the drift to war and was no longer to be trusted, but ridiculed and subverted.

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