Printmaking has been an important and much-studied part of art history since the 15th century, but this work is the first survey of the medium to focus on the years between the Wars. Surrealist prints directly stem from the literary inclinations of the movement; published materials almost always included illustrations striving to define the blur between words and no words, real and unreal, consciousness and unconsciousness. Editor Kaplan's extensive personal collection of prints is reviewed here. (Founder of the magazine Institutional Investor, Kaplan serves on the Print and Illustrated Book Committee of MoMA.) Some of the prints date up to ten years before the Surrealist Manifesto was written in 1924, allowing one to trace the evolution from Dada onward. Everyone's favorite surrealists are represented, from Arp, Bellmer, Ernst, and de Chirico to Duchamp, Dali, Magritte, and Miro. Of course, not all surrealists were facile in printmaking, and for a full understanding of the movement it may be necessary to read other texts in conjunction with this work. For art history collections and other libraries with specific interests in Surrealism or Modernism.?Nadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, Ohio
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