Surrealism Surrealism focuses on the psyche, fantasy, and the unconscious. The artwork is greatly influenced by writing by Freud and Jung. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
(Metaphysical Painting) Pittura Metafisica (Metaphysical Painting) Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Giorgio De Chirico The Red Tower 1913, oil on canvas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giorgio De Chirico The Red Tower 1913, oil on canvas
highly contrasting dark and light values De Chirico produced, mysterious, ambiguous paintings that are marked by these stylistic traits: perspective space highly contrasting dark and light values enigmatic combinations of images juxtaposed to create mysterious context or meaning. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giorgio De Chirico Love Song 1914 oil on canvas
The Great Metaphysician Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giorgio De Chirico The Great Metaphysician 1917 oil on canvas 41 1/8 x 27 1/2 in.
The Melancholy and Mystery of a Street Dadaists, Surrealists and Metaphysical artists used ambiguous titles that relate “uneasily” to what we see. The viewer must “decipher the connection between the image and the words.” Giorgio De Chirico The Melancholy and Mystery of a Street 1914 oil on canvas 34 1/4 x 28 1/4 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
The Surrealists and the Metaphysical artists were inspired by the ideas of Sigmund Freud, Carl Jung and Friedrich Nietzche. The strangeness that De Chirico conjured in his scenes of “everyday” things recalls Nietzsche’s “foreboding that underneath this reality in which we live and have our being, another and altogether different reality lies concealed.” – Kleiner Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giorgio De Chirico The Nostalgia of the Infinite 1917 oil on canvas
Surrealism Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
André Breton Performing Far-Sighted Manifesto 1920 Translation of sign: “In order for you to like something it is necessary for you to have seen and understood it a long time ago, you bunch of idiots.” Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
“Surrealism is based on the belief in the superior reality of certain forms of association heretofore neglected… the omnipotence of dreams… the undirected play of thought…” – Breton Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. André Breton Self-portrait 1925 photomontage
Surrealism and Dada emerged out of political unrest across Europe (WWI and WWII). The movements were conceived as a revolution, that celebrated the breaking of established conventions. In Ernst’s, The Virgin Spanking the Christ Child, the three wise men are Surrealists and Christ is seen as an ordinary naughty child. This breaks the rules of not only establishment art, but also religious orthodoxy and moral feelings. This painting is an example of how Surrealism and Dada rejected the mainstream goals of society, substituting their own artistic values. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Max Ernst The Virgin Spanking the Christ Child Before Three Witnesses: André Breton, Paul Elouard, and the Painter 1926, oil on canvas
The Persistence of Memory Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Salvador Dali The Persistence of Memory 1931, oil on canvas, 9 1/2 x 13 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Salvador Dali The Metamorphosis of Narcissus 1937, oil on canvas, 51.2 x 78.5 cm Surrealism is art expressing the qualities of dreams and the unconscious.
Christ of St. John of the Cross 1951 oil on canvas 81”x 46” Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Salvador Dali Christ of St. John of the Cross 1951 oil on canvas 81”x 46”
The Hallucinogenic Torreador 1968-70 oil on canvas, 157” x 118” Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Salvador Dali The Hallucinogenic Torreador 1968-70 oil on canvas, 157” x 118”
Salvador Dali Photograph ca. 1930’s Salvador Dali Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Salvador Dali Photograph ca. 1930’s Salvador Dali Photograph ca. 1960’s
Link to the Salvador Dali dream sequence in Alfred Hitchcock's movie, Spellbound Salvador Dali experimented with film and became an art celebrity in the later half of the 20th century. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Salvador Dali and Louis Buñuel Un Chien Andalou 1929 motion picture
René Magritte The False Mirror Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte The False Mirror 1928, oil on canvas, 21 1/4 x 21 7/8 in.
René Magritte The Human Condition 1933, oil on canvas, 39 x 32 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte The Human Condition 1933, oil on canvas, 39 x 32 in.
René Magritte The Empire of Light 1952 oil on canvas 39 1/2 x 32 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte The Empire of Light 1952 oil on canvas 39 1/2 x 32 in.
René Magritte The Empire of Light 1964 oil on canvas 46 x 35 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte The Empire of Light 1964 oil on canvas 46 x 35 in.
René Magritte The Listening Room 1952, oil on canvas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte The Listening Room 1952, oil on canvas
The Treachery of Images 1928-29, oil on canvas, 23 1/4 x 31 1/2 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte The Treachery of Images 1928-29, oil on canvas, 23 1/4 x 31 1/2 in.
René Magritte Time Transfixed 1938 oil on canvas 57 1/2 x 38 1/2 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. René Magritte Time Transfixed 1938 oil on canvas 57 1/2 x 38 1/2 in.
First Papers of Surrealism Exhibition, New York 1942 installation Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. First Papers of Surrealism Exhibition, New York 1942 installation
Frida Kahlo The Two Fridas 1939 CE oil on canvas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Frida Kahlo The Two Fridas 1939 CE oil on canvas
Frida Kahlo, The Two Fridas Frida was born to a Mexican mother and German father. Although she is categorized as a Surrealist, she distanced herself from the group. Her paintings show details form her own life and psychological despair of human existence. Frida was deeply nationalistic and proud of her Mexican heritage. She is painted wearing the Tehuana dress of the Zapotec women on the right and in European garb on the left. The landscape is baron and stormy. She has two exposed hearts; hearts were symbolic of the Aztec (Mexica). She holds a miniature portrait of her husband, Diego Rivera, in her hand. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Frida Kahlo The Broken Column 1944 oil on canvas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Frida Kahlo The Broken Column 1944 oil on canvas
Frida Kahlo Henry Ford Hospital 1932 oil on metal, 12 1/4 x 15 1/2 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Frida Kahlo Henry Ford Hospital 1932 oil on metal, 12 1/4 x 15 1/2 in.
138. Meret Oppenheim (Le Dējeuner en Fourrure) Object 1936 fur-Covered cup, saucer and spoon 2 7/8 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. This sculpture was selected by popular vote, as the “quintessential Surrealist symbol” at the 1937 Surrealist exhibition at the Museum of Modern Art in New York.
Meret was female Swiss artist who was friends with 138. Meret Oppenheim, Le Dējeuner en Fourrure,also called “Luncheon in Fur” Meret was female Swiss artist who was friends with Picasso. The piece was inspired by a conversation with Picasso. The functional object is fur-covered and has an anthropomorphic* quality. The cup is magically transformed and has sensual quality to it. The cup is tactile and concave. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. *Anthropomorphic = giving human form or characteristic to non-human item