SURREAL OBJECTS: THREE-DIMENSIONAL WORKS FROM DALI TO MAN RAY.

NEUFERT, Andreas.

ISBN 10: 3775727698 / ISBN 13: 9783775727693

Published by Hatje Cantz Verlag,, Frankfurt,, 2011

About this Item

First Edition. Hardback. No Dust Jacket. 4to. pp 276. Original publishers plush burgundy cloth, lettered silver at the spine and front cover. Issued without dust jacket. Copiously illustrated in colour and black and white throughout. As beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella this is how the poet Comte de Lautr amont describes a key aspect of Surrealist art theory. The strange objects and sculptures produced by the Surrealists manifest the interplay of bizarre contrasts, of a shaken reality that forges the subconscious and dreamy states. This is the first comprehensive publication to focus exclusively on the Surrealists three-dimensional works about 180 of them in all ISBN: 9783775727693 Fine.

Seller Inventory # C94378

Bibliographic Details

• Title: SURREAL OBJECTS: THREE-DIMENSIONAL WORKS FROM DALI TO MAN RAY.
• Publisher: Hatje Cantz Verlag,, Frankfurt,
• Publication Date: 2011
• Language: English
• ISBN 10: 3775727698
• ISBN 13: 9783775727693
• Binding: Hardcover
• Edition: 1st Edition
• Condition: Fine
• Seller catalogs:
  • Art / Art Catalogues

About this title

Synopsis

"Beautiful as the chance meeting of a sewing machine and an umbrella on a dissecting table" is the most famous formulation of the Surrealist effect, penned by the Comte de Lautréamont in the 1860s and adopted as a rallying cry by André Breton at the inception of the Surrealist movement. Lautréamont's vivid simile lent itself both to poetry and to visual art, and the Surrealist artists were quick to grasp that an entirely new kind of sculpture could be made from such potent combinations of commonplace objects. Duchamp's Dada-era objects, Freud's theories of the fetish, the "uncanny" and sexual symbolism and the popularity in Europe of African votive objects supplied further stimulus, and soon Breton, Man Ray, Salvador Dalí and even Picasso had populated this infant genre with a whole slew of disquieting (and sometimes fun) inventions--May Ray's 1920 "Cadeau" (a clothes iron with tacks attached) and Dalí's 1936 lobster telephone are two instantly recognizable examples. Younger recruits to the Surrealist cause, such as Hans Bellmer, Isamu Noguchi and Meret Oppenheim developed the possibilities of the genre even further, and Oppenheim's 1936 "Fur Cup" must be today the supreme instance of the Surrealist object. Surreal Objects is the first publication to exclusively address the Surrealist object. Surveying works by over 50 artists and writers--among them such familiar names as Breton, Dalí, Duchamp, Magritte, Man Ray and Picasso, and less-known artists such as Antoni Clavé, Leo Dohmen, Wilhelm Freddie and Conroy Maddox--it provides a definitive treatment of one of Surrealism's most characteristic yet neglected themes.