A Complete Guide to Drawing by Domingo Manera;

Author:Domingo Manera; [Manera, Domingo]
Language: eng
Format: epub
ISBN: 9781644618004
Publisher: Confidential Concepts, Inc.

61. Klee, Portrait of a Wise Man. London, Private Collection.

62. Toulouse-Lautrec, The Washerwoman.

63. Picasso, Composition (1905).

Like Dadaism, Surrealism advocates the freedom of forms born of the impulse of the creative forces of the Freudian unconscious. Rational logic enslaves the authentic fantasy that can only in the dream enjoy full freedom. Therefore, the true personality of the artist is perceived in its dreamlike manifestations.

At first, the surrealist movement, which also influenced the world of letters, was considered as a simple expression of a new order that exceeded the horizon delimited by the bourgeois world and that made the other reality of things intimately linked to the ordinary reality but so different from each other. Starting in 1930, the Surrealism evolves, disregarding aesthetic images and definitions and any link with everyday life, which in some surrealist works even appears haloed with a certain neo-Romanticism, to end in a psychic automatism, combining aesthetic sensations coming out of a magical world not far from abstraction.

Max Ernst (1891–1976) has theorised the plastic aspect of the movement in his surrealist painting treatise. As an artistic current, he has left works of enormous value, in which the sensation of infinite in endless scenes stands out, an anguished impression of loneliness, of silence, through a rich phantasmagorical plastic in evocative power. Its theme is varied, sometimes scandalous, always amazing. In general, two trends are clearly distinguished: one of an abstract type and another more oriented towards the object. However, Surrealism has something of a trick because, in general, ordinary works are the result of a premeditated and very elaborate technique in order to provoke certain reactions. There is no spontaneous freedom of the powers not controlled by reason. Very often, it is a simulated paradox because the artist consciously works on what he wants to suggest of the unconscious.

Among the figures who have made school is Giorgio de Chirico (1888-1978), who usually focuses his dream experiences on inaccurate statues, on architectural elements with mathematical suggestions. He likes to call himself a metaphysical painter rather than a surrealist.

The Russian Marc Chagall (1887-1985), spent most of his artistic life in Paris, developing a very personal style. He proves to be a magnificent artist but he prefers to adopt a childish air, disfiguring the features to obtain an expressive intensification. Through a chain of psychic and formal means, he tries to introduce elements of shock that arouse a new moral force. Alberto Martini (1876-1954), a strange and exceptional artist of volcanic imagination, always creative in a world in which he mixes the real and the abstract, to suggest abnormal states in a truly amazing sinuous line technique.

The Catalan Miró and the French Masson are samples of Surrealism of abstract tendencies.

Joan Miró (1893-1983), begins his artistic life with an expressionist period; he then adheres to analytical Realism of cubist type, and from 1924, he is considered to be attached to the surrealist group. However, he himself has said: “First of all, I want to preserve my rigorous, absolute, total independence”. His desire for freedom is typically surreal but his work is practically unclassifiable and unmistakable.

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