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The Dada movement and then the Surrealists appeared in the First

World War aftermath with a bang: revolution of thought, creativity,

and the wish to break away from the past and all that was left in

ruins. This refusal to integrate into the Bourgeois society lead

Georg Grosz to remark of Dada, "it's the end of -isms." Breton

asserted that Dada does not produce perspective, "a machine which

functions full steam, but where it remains to be seen how it can

feed itself."

Surrealism emerged amidst such feeling. These artists often

changed from one movement to another. They were united by their

superior intellectualism and the common goal to break from the

norm. Describing Dada with its dynamic free-thinkers, and the

Surrealists with their aversive resistance to the system, the

author brings a new approach which strives to be relative and

truthful. Provocation and cultural revolution: Dada and the

Surrealists, aren't they above all just a direct product of

creative individualism in this unsettled period?

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Megan McShane is an art historian who received her Ph.D. from

Emory University. Specializing in avant-garde European art during

the Great Wars, she was a Violence Studies Fellow at Emory, where

she received the President's writing award for research on women's

issues. She further developed her interest in artists under Vichy

at the Center for Advanced Holocaust Studies in Washington D.C.

last year.

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编辑推荐

Following the horrors of the First World War, Nathalia Brodskaa

tells the tale of the Cabaret Voltaire origins and the post-Dada

development of Surrealism, intelligently weaving de*ions of

the most important artistic and literary themes and personal

portraits of the movement's major players into her narrative.

Overall, the text provides a clear view of the aspirations,

accomplishments, and failures of this cultural revolution produced

during unsettled times.

书籍介绍

The Dada movement and then the Surrealists appeared in the First World War aftermath with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins. This refusal to integrate into the Bourgeois society lead Georg Grosz to remark of Dada, "it's the end of -isms." Breton asserted that Dada does not produce perspective, "a machine which functions full steam, but where it remains to be seen how it can feed itself." Surrealism emerged amidst such feeling. These artists often changed from one movement to another. They were united by their superior intellectualism and the common goal to break from the norm. Describing Dada with its dynamic free-thinkers, and the Surrealists with their aversive resistance to the system, the author brings a new approach which strives to be relative and truthful. Provocation and cultural revolution: Dada and the Surrealists, aren't they above all just a direct product of creative individualism in this unsettled period?