ART MAKE UP EXERCISE DANIEL MUÑOZ BLANDON GIMNASIO CAMPESTRE ART DEPARTMENT SEVENTH B

SURREALISM Surrealism originated in the late 1910s and early '20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious. Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and critic André Breton (1896–1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud (1856–1939) and the political ideas of Karl Marx (1818–1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier.

RON MUECK Australian sculptor. He spent 20 years in Australian and British television and advertising, where he was already making the mannequins that he later adapted to sculptural purposes. Mueck took part in the exhibition Sensation at the Royal Academy in 1997 with mixed media sculpture Dead Dad (1996–7; London, Saatchi Gal.), an unsettling illusionistic rendition of his own deceased father, half life-size. Made from memory, the sculpture became as much the focus for a strong emotional involvement as it was a mere object treated with Mueck's rigorous eye for detail. As the artist explained, the miniaturised representation proved a more emotionally involving depiction of death by compelling the beholder to ‘cradle' the corpse visually. Mueck sculpts in clay, makes a plaster mould around it and finally replaces the clay with a mixture of fibreglass, silicone and resin; the technical skill involved has often been foregrounded by critics to the detriment of its content. Such psychological density was evident in Ghost (h m, 1998; London, Tate), a gigantic representation of an awkward teenage girl wearing a bathing suit and averting her gaze from the viewer. Such plays on scale are integral to the powerful effects of Mueck's figures. A colossal figure commissioned for the Millenium Dome in London in 2000 reiterated a similar issue. Tackling traditional themes such as self-portraiture or the age-old question of verisimilitude in art, Mueck applies skills more usually associated with theatrical or cinematic special effects, to engender a personal understanding of the art object.

FERNANDO BOTERO Born in Colombia in 1932, Fernando Botero left matador school to become an artist, displaying his work for the first time in a His subsequent art, now exhibited in major cities worldwide, concentrates on situational portraiture united by his subjects' proportional exaggeration. In 2004, Botero turned to the overtly political, exhibiting a series of drawings and paintings focusing on the violence in Colombia stemming from drug cartel activities. In 2005, he unveiled his "Abu Ghraib" series, based on reports of American military forces abusing prisoners at the Abu Ghraib prison during the Iraq War. The series took him more than 14 months to complete, and received considerable attention when it was first exhibited in Europe. Fernando Botero lives with his second wife, Greek artist Sophia Vari, in both Paris, France, and coastal Italy. He continues to exhibit his works around the world.

CONNECTION THE CONNECTION BETWEEN THIS MOVEMENTE AND THIS ARTIST IS BECAUSE THEY USE SOME ORIGINAL AND ALLREADY MADE PICTURES AND TRANSFORMED THEM INTO THEIR STYLE.

CONCLUSIONS THIS ARTISTS HAVE MADE ALL THIS ART PIECES BASING IN SOMETHING ELSE AND INPIRE BY THEY STYLE OF DOING SOMETHING, AND THIS ARTISTS ARE RELATED BECAUSE THEY HAVE SOME CHARACTERISTICS THAT HAVE TO BE OF THAT SPECIFIC MOVEMENT