aesthetic theories of french artists

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THE AESTHETIC THEORIES OF FRENCH ARTISTS FROM REALISM TO SURREALISM BY CHARLES EDWARD GAUSS Including the exponents of realism, impressionism, neoimpressionism, cubism, surrealism, and such artists as Renoir, Cezanne, Gauguin, and Matisse, the author presents the aesthetic theories of the principal French artists since 1855. "The book is excellently organized and carefully indexed. It is filled with well-translated quotations from the most important writings of leading artists of the period. It has a large and excellent bibliography of items indispensable for anyone who wishes to understand late nineteenth and twentieth century developments in art. For these reasons, if for no others, the book will be of value to everyone interested in esthetics as propounded by artists/ 1 —College Art Journal Books on art such as Professor Gauss’s are important because they break down the barriers which specialization has built up between the sciences/ 1 —Times Literary Supplement The double aim of this book seems a fascinating one: to study the history of ideas concerning art from 1855 to the present in the writing of French artists, and to indicate roots or parallels for these ideas in the contemporary philosophies/’— Magazine of Art CHARLES EDWARD GAUSS was Elton Professor of Philosophy at George Washington University and assistant to the president at Nova University of Advanced Technolog}’, Fort Lauderdale, Florida. He is now retired. Originally published, 1949 To MY PARENTS AND MY WIFE who encouraged and aided my education and were patient through the long process This study is a modest attempt to trace some of the connections between art and other branches of human endeavor and culture in the history of ideas. Its thesis is that one should examine the history of ideas as it is manifested in

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THE AESTHETIC THEORIES OF FRENCH ARTISTSFROM REALISM TO SURREALISMBYCHARLES EDWARD GAUSSIncluding the ex!nent" !# $e%li"&' i&$e""i!ni"&' ne!i&$e""i!ni"&' cu(i"&' "u$$e%li"&' %nd "uch %$ti"t" %" Ren!i$' Ce)%nne' G%uguin' %nd M%ti""e' the %uth!$ $e"ent" the %e"thetic the!$ie" !# the $inci%l F$ench %$ti"t" "ince *+,,-.The (!!/ i" excellentl0 !$g%ni)ed %nd c%$e#ull0 indexed- It i" #illed 1ith 1ell2t$%n"l%ted 3u!t%ti!n" #$!& the &!"t i&!$t%nt 1$iting" !# le%ding %$ti"t" !# the e$i!d- It h%" % l%$ge %nd excellent (i(li!g$%h0 !# ite&" indi"en"%(le #!$ %n0!ne 1h! 1i"he" t! unde$"t%nd l%te nineteenth %nd t1entieth centu$0 de4el!&ent" in %$t- F!$ the"e $e%"!n"' i# #!$ n! !the$"' the (!!/ 1ill (e !# 4%lue t! e4e$0!ne inte$e"ted in e"thetic" %" $!!unded (0 %$ti"t"/1College Art JournalB!!/" !n %$t "uch %" 5$!#e""!$ G%u""6" %$e i&!$t%nt (ec%u"e the0 ($e%/ d!1n the (%$$ie$" 1hich "eci%li)%ti!n h%" (uilt u (et1een the "cience"/1Times Literary SupplementThe d!u(le %i& !# thi" (!!/ "ee&" % #%"cin%ting !ne7 t! "tud0 the hi"t!$0 !# ide%" c!nce$ning %$t #$!& *+,, t! the $e"ent in the 1$iting !# F$ench %$ti"t"' %nd t! indic%te $!!t" !$ %$%llel" #!$ the"e ide%" in the c!nte&!$%$0 hil!"!hie"869 Magazine of ArtCHARLES EDWARD GAUSS 1%" Elt!n 5$!#e""!$ !# 5hil!"!h0 %t Ge!$ge W%"hingt!n Uni4e$"it0 %nd %""i"t%nt t! the $e"ident %t N!4% Uni4e$"it0 !# Ad4%nced Techn!l!g:6' F!$t L%ude$d%le' Fl!$id%- He i" n!1 $eti$ed-Originally published, 1949T! MY 5ARENTS AND MY WIFEwho encouraged and aided my education and were patient through the long processThi" "tud0 i" % &!de"t %tte&t t! t$%ce "!&e !# the c!nnecti!n" (et1een %$t %nd !the$($%nche" !# hu&%n ende%4!$ %nd cultu$e in the hi"t!$0 !# ide%"- It" the"i" i" th%t !ne "h!uld ex%&ine the hi"t!$0 !# ide%" %" it i" &%ni#e"ted in %$t-I h%4e included in &0 di"cu""i!n !nl0 th!"e %$ti"t" %nd th!"e 1$iting" 1hich I dee&ed"u##icient t! t$%ce the c!u$"e I 1i"hed t! !utline- I# the "tud0 i" !# %n0 4%lue !the$" (ette$ e3uied th%n I &%0 #ill in the !utline"-In $ende$ing the F$ench 3u!t%ti!n" in Engli"h I h%4e &%de &0 !1n t$%n"l%ti!n"' th!ugh !#ten (ette$ !ne" %$e %4%il%(le' in !$de$ th%t %n0 $e"!n"i(ilit0 #!$ &i"unde$"t%nding &%0 (e l%id !nl0 t! &e-I 1i"h %$ticul%$l0 t! th%n/ D$- Ge!$ge B!%" %nd D$- Li!nell! ;entu$i #!$ thei$ /ind %id %nd inte$e"t in the $e"ent unde$t%/ing- I %& %l"! g$%te#ul t! the& %nd t! D$- 5ed$! S%lin%" %nd Mi"" Ett% C!ne #!$ h%4ing &%de %4%il%(le t! &e &%te$i%l" #$!& thei$ li($%$ie" 1hich it 1!uld h%4e (een !the$1i"e di##icult !$ i&!""i(le t! !(t%in-Ac/n!1ledg&ent i" &%de t! The Journal of Aesthetics #!$ g$%nting &e e$&i""i!n t! inc!$!$%te he$e &%te$i%l" u(li"hed in th%t M- Hen$i M%ti""e' 1h!"e %$ticle' ? N!te" d6un eint$e @ %e%$ed in the #rande shado#s@ &ollo#ing the la#s o& $ontrast, diinution, and irradiation" The &rae is in harony o((osed to that o& the tones, $olors, and lines o& the (i$ture"2Th!ugh Seu$%t c%ll" % 1!$/ !# %$t % "0nthe"i"' it "ee&" %%$ent #$!& 1h%t he h%" 1$itten th%t it i" % "u&- T! unde$"t%nd it !ne i"!l%te" the ele&ent" !# 1hich it i" c!&!"ed' &uch %" % che&i"t 1!uld "et t! 1!$/- F!$ the 1!$/ !# %$t the"e ele&ent" %$e c!nc$ete' 4i"i(leexi"tent"' c!l!$' line"' light %nd "h%de- One d!e" n!t $%te %(!ut (e%ut0 !$ "u(li&it0 %" the ide%li"t" d!' #!$ the"e %$e &et%h0"ic%l e""ence" 1hich the "cienti#ic %e"thetici%n c%nn!t #ind-T%/e the ele&ent" 1hich %n%l0"i" 0ield"' "tud0 the&' le%$n h!1 t! &%niul%te the& in i"!l%ti!n %nd in c!&(in%ti!n %nd 0!u h%4e the #!$&ul% #!$ the c$e%ti!n !# % 1!$/ !# %$t- I# C!u$(et h%d %d!ted the !int !# 4ie1 !# !"iti4i"&' Seu$%t h%" %d!ted it" &eth!d-5%ul Sign%c in hi" (!!/' 19ugene 1elacroi. au neo5 impressionnisme6 de#ine" the ne!2i&$e""i!ni"t %inte$" %" ? th!"e 1h! h%4e $e4i4ed %nd "ince *++I de4el!ed the techni3ue c%lled di4i"i!ni"& in e&l!0ing the !tic &ixtu$e !# t!ne" %nd c!l!$" %" % &%nne$ !# ex$e""i!n-@ *E The"e %inte$" h%4e (een d$%1n t! thi" &%nne$ !# %inting (ec%u"e th$!ughit the0 c%n !(t%in g$e%te$ lu&in!"it0 th%n (0 %n0 !the$ &e%n"- On thi" "u!"iti!n the (!!/ i"%n ex!"iti!n !# %inting %" % "cienti#ic techni3ue- Sign%c i" c!nce$ned t! "h!1 th%t the &eth!d !# the ne!2i&$e""i!ni"t" i" % $e%li)%ti!n !# the the!$ie" !# Del%c$!ix %nd the i&$e""i!ni"t"-The ne!2i&$e""i!ni"t" d! n!t %int in d!t"' the0 " d! n!t M !intille N (ut di4ide'@ e&l!0ing the techni3ue !# little d%u(" !# c!l!$ (ec%u"e !# the nece""it0 !# d!ing "! #$!& "cienti#ic $incile"- Di4i"i!ni"& %""u$e" the& lu&in!u"' c!l!$#ul' h%$&!ni!u" e##ect" th$!ugh* The o(ti$ i'ture o& (igents """"B The se(aration o& diverse eleents, $olor, &or, light, and their rea$tions """"H The e)uili!riu o& these eleents and their (ro(ortion >a$$ording to the la#s o& $ontrast, diinution, and irradiation@"F The $hoi$e o& tou$h (ro(ortional to the diensions o& the (i$ture"11Sign%c d!e" n!t li/e the 1!$d !intilli"&- It d!e" n!t h%4e the !4e$t!ne !# c!$$ect &e%ning- Di4i"i!ni"&' he thin/"' h%"' &e%ning ? % c!&lex "0"te& !# h%$&!n0' %n %e"thetic &!$e th%n % techni3ue'@ #!$ ? the (%"i" !# di4i"i!n i" c!nt$%"t' %nd i" n!t c!nt$%"t %$t it"el#L @ *BWith the th$ill !# the %$ti"t 1h! #ind" le%"u$e in hi" %$ti"t$0 he tell" u" in !ne (e%uti#ul %""%ge th%t the %inte$ t%/e" h0d$!gen %nd !x0gen %$e n!t 1et' %nd the !ne i" nece""%$0' the !the$ %n %id t! c!&(u"ti!n- The "itu%ti!n i" "i&il%$ 1hen 1e tu$n t! &e%ning2"itu%ti!n"- A "entence i" the "u& !# the 1!$d" th%t &%/e it u' h0"ic%ll0 "e%/ing' (ut the &e%ning !# the "entence i" n!t the "u& !# the &e%ning !# e%ch 1!$d- The "entence h%" it" !1n &e%ning- And #$e3uentl0' t!!' the &e%ning !# % c!ntext 1ill ch%nge !$ %lte$ the &e%ning" !# 1!$d" 1ithin it- A 1!$/ !# %$t %l"! 1ith it" ele&ent" i" in %n %n%l!g!u" "itu%ti!n 1ith $e#e$ence t! e&!ti!n%l $e"!n"e"- But in the nineteenth centu$0 %n%l0"i" 1%" the $ec!gni)ed &eth!d !# "cience' %nd the &eth!d !# "cience h%d (!$ne #$uit 1he$e4e$ it h%d (een %lied- It 1%" $e%"!n%(le t! exect it 1!uld d! "! #!$ inten"i4e 3u%litie" %" 1ell' %nd the ne1 %e"thetic %n%l0"i" 1%" diligentl0 u$"ued (0 Seu$%t %nd th!"e 1h! #!ll!1ed the ne!2i&$e""i!ni"t (elie#"-With the ne!2i&$e""i!ni"t" %e"thetic" i" "ul%nted (0 the "cience !# %$t- Ae"thetic" h%d %$!%ched %$t th$!ugh "ecul%ti!n !n the n%tu$e !# the (e%uti#ul- The "cience !# %$t ex%&ine" the !(1:71512B,@, Aeri$an (hysi$ist, ade e'tensive studies on the )uantitative analysis o& $olor $ontrasts" His (rin$i(al #or% is .odern Chro#atics, 1::1"K Given in Eenturi, op cit, vol" 00, (" ,="+ Ro!ert de la Eilleherve in the 'avre81clair, Se(t" ,3, 12B=6 in Eenturi, op cit, vol" 0, (" 1B1"* R" Rey, $a renaissance du senti#ent classi3ue, re(rodu$tion &a$ing ((" 17,51776 also in G" Co)uiot, "es peintres #audits, ((" 17,517= #ith inor e'$e(tions" C&" Rey, op cit, L" Cousturier, Seurat, and ." Re#ald, Seurat, &or SeuratCs ani&esto"*E /" Signa$, op cit, (" 1"***bid, ((" =53"*B *bid, (" ?2"1: *bid, (" :,"1= *bid, (" :?"1< *bid, (" ::"*I *bid, ((" 1B< and 1B?"*K *bid, ((" :75:="*+ 2ide, e" g", N" Hevner, 8 E'(eriental Studies o& the A&&e$tive Ealue o& Colors and Lines,; 4ournal of Applied Psychology, Aug" 1273, ((" 7:3572:"*A Iet in the theory o& HelholtL nature does so (resent itsel& to us" He distinguishes three %inds o& nerve &i!res, ea$h res(onding to one o& the (ure $olors, red, green, and violet" The sensation o& a $olor, there&ore, de(ends u(on the $hanges o$$asioned in these &i!res !y the e'ternal stiulus"BE " C !ich, Seurat and the 1volution of < $a -rande 4atte,= p 10CHA/TER F-URTHE GREAT INDE5ENDENTS7 RENOIR AND CERANNEAINTING 1%" n!t t! #!ll!1 the 1%0" !# "cienti#ic $e%li"& 1ith!ut % 4ig!$!u" deni%l #$!& "!&e %$ti"t"- Thi" deni%l c!uld t%/e t1! #!$&"- In the #i$"t l%ce' !ne c!uld $eudi%te %n0 c!nnecti!n (et1een "cience %nd %$t %nd di"$eg%$d the $!(le& !# the $el%ti!n !# the 1!$/ !# %$t t! the n%tu$%l !( In"i$ed (0 the c$%#t" &!4e&ent!# Willi%& M!$$i" in Engl%nd 1h! $e4!lted %g%in"t the !!$ t%"te !# hi" d%0' the %$t" !# de"ign exe$ienced % &in!$ $en%i""%nce- The$e 1%" % $e4i4ed inte$e"t in g!!d c$%#t"&%n"hi th%t i" (e%$ing %d&i$%(le #$uit t!d%0- G!ing t! n%tu$e #!$ thei$ &!del" the %$ti"t" !# 0art nou!eau e&l!0ed g$%ce#ul cu$4e"' "1i$ling "i$%l"' l%nt %nd %ni&%l #!$&" 1ith "u!"ed i&%gin%ti4e #$eed!& in #u$nitu$e' &et%l1!$/' C Thi" $e#%ce h%" (een c%lled ? Ren!i$6" te"t%&ent @ 1hich %##i$&" ? !n e%ch %ge hi" #%ith in the cl%""ic t$%diti!n'@ I % "t%te&ent th%t i" ce$t%inl0 ex%gge$%ti!n-We %$e li%(le t! #!$get the %"t' Ren!i$ tell" u"' (ec%u"e "! &%n0 $ecent &%$4el!u" e4ent" %nd di"c!4e$ie" tu$n !u$ e0e" #$!& 1h%t h%ened $i!$ t! the&- But % gl%nce (%c/ %t thi" %"t i" n!t % u"ele"" $!cedu$e #!$ u" t!d%0' %nd in % &%n li/e Cennini 1e %$e %&l0 $e1%$ded- Be"ide" (eing % technic%l &%nu%l' the t$e%ti"e !# Cennini i" % hi"t!$0 #$!& 1hich 1e c%n le%$n &uch %(!ut %$t- The %$ti"tic g$e%tne"" !# % n%ti!n i" n!t &e%"u$ed (0 the #e1 1!$/" !# % &%n !# geniu" (ut (0 %ll the 1!$/" !# %ll it" %$ti"t"- It 1%" t! %ll %$ti"t" !# hi" ti&e th%t Cennini "!/e' hi" u$!"e t! &%/e g!!d %$ti"%n"-KRen!i$ $eite$%te" the $!!"iti!n !# the $e%li"t"7 ? One 1!uld n!t /n!1 h!1 t! li4e !ut"ide !# hi" ti&e- - - +The ti&e" !# Cennini %nd !u$ !1n' Ren!i$ "%0"' di##e$ in t1! i&!$t%nt $e"ect" 1hich &%/e !u$ !1n %$ti"tic%ll0 in#e$i!$- 5%inte$" c!uld then eng%ge in c!llecti4i"tic %cti4itie"' th%t i"' "e4e$%l &ight dec!$%te !ne chu$ch %nd 0et %&!ng thei$ indi4idu%l 1!$/" the$e 1!uld (e % unit0 #!$ ? the %inte$" 1!uld !""e"" the "%&e metierA 5%inte$" then le%$nedthei$ t$%de th$!ugh %$entice"hi' th$!ugh initi%ti!n little (0 little int! the %ctu%l $%ctice !# thei$ %$t- Yet "uch %$entice"hi did n!t /ill the !$igin%lit0 !# th!"e %inte$"7 R%h%el 1%" n!le"" hi&"el# #!$ (eing the uil !# 5e$ugin!- Thi" "i$it !# the atelier i" g!ne #$!& %$t t!d%0- The "ec!nd #%ct!$ 1hich exl%in" the g$e%t 4%lue !# %"t %$t i" $eligi!u" "enti&ent' th%t h%$&!ni)ing %gent 1hich &!4ed %&!ng %ll &en %nd the %ge in 1hich the0 li4ed- Th!ugh $eligi!u" "enti&ent h%" "te%dil0 g$!1n 1e%/e$ the $ule" e"t%(li"hed unde$ it" in#luence h%4e /et %$t !n % high l%ne 1he$e C%th!lic cultu$e h%" $e4%iled- E4en in the ti&e !# the g$e%te"t!1e$ !# the Chu$ch the %$ti"t" 1e$e $el%ti4el0 #$ee- ? F%ith 1%" the $egul%t!$ !# thei$ #%nt%"0 1hich c!uld n!u$i"h it"el# 1ith!ut #e%$ #$!& $!#%ne "!u$ce"-@ *E T!d%0 1e %$e n!t in th%t h%0 "itu%ti!n7Gods are no longer #anted, and gods are ne$essary to our iagination" 0t ust !e $on&essed, odern rationalis, i& it is a!le to satis&y the learned, is a anner o& thin%ing in$o(ati!le #ith any $on$e(tion o& art"11Be"ide the"e t1! #%ct!$" the$e i" % "ec!nd%$0 c%u"e #!$ the dec%dence !# %$t t!d%0- F!$&e$l0 !ne 1!$/e$ 1!uld c%$$0 !ne !( intuiti!n gi4e" /n!1ledge !# the !(E - Santayana, The Sense of DeautyCHA/TER S0QEARLI CU*0S9ANOTHER 4%$i%nt !# $e%li"t %e"thetic" 1%" !""i(le' %nd th%t 1%" t! decl%$e th%t the %$ti"t6" (u"ine"" i" t! %int the $e%l !( it i" %n !$g%ni"&-@A O$ the $el%ti!n"hi &%0 (e th%t (et1een the ict!$i%l 1!$ld %nd the 4i"u%l 1!$ld !# the &!del- B!th &%0 (e % dec!$%ti4e %tte$n' !$ (!th &%0 h%4e deee$ %"ect"7-il (ainting today (erits the e'(ression o& notions Jhereto&oreK deeed ine'(ressi!le, those o& de(th, density, and duration, and it in$ites us to re(resent a$$ording to a $o(le' rhyth and in a restri$ted s(a$e a verita!le &usion o& o!4e$ts"1BN!n2dec!$%ti4e %$t ex$e""e" the e$&%nence !# !( The 1!$d 1%" l%te$ %d!ted (0 And$e B$et!n t! de"c$i(e the %ttitude !# d$e%& th!ught %nd "0chic %ut!&%ti"& th%t 1%" eng%ging hi" %ttenti!n- It" &!the$ 1%" d%d%' #$!& 1h!"e (!d0 it 1%" (!$n-D%d% &%de it" de(ut du$ing the Fi$"t W!$ld W%$ in *A*I %t the C%(%$et ;!lt%i$e in Ru$ich' %nd it" nihili"tic %ttitude 3uic/l0 "$e%d %&!ng the di"illu"i!ned %$ti"t" !# Eu$!e- It 1%" "! n%&ed' %" !ne "t!$0 g!e"' (ec%u"e dada 1%" the #i$"t 1!$d 1hich &et the e0e !# T$i"t%n T)%$% 1hen he in"e$ted % %e$/ni#e in % dicti!n%$0 %t $%nd!& %nd !ened the (!!/ t!th%t l%ce- I# it" %dhe$ent" e4e$ h%d %n0 illu"i!n" %(!ut %$t the0 %(%nd!ned the& in d%d%' #!$ d%d% 1%" the di"l%0 !# n!n"en"e #!$ it" !1n "%/e-M%ni#e"t!e" 1e$e $e%d (0 the "c!$e t! d%&n %$t %nd th!ught %nd &%ni#e"t!e" %nd d%d%it"el#70 #rite a ani&esto and 0 donCt #ant anything" Iet 0 say $ertain things, and 0 a !y (rin$i(le against ani&estoes as 0 a also against (rin$i(les" """ 0 #rite this ani&estoto sho# that one $an ta%e o((osite a$tions at the sae tie in one $ool !reath" 0 a against a$tion, in &avor o& $ontinual $ontradi$tion and &or a&&iration also" 0 a neither &or nor against and 0 do not e'(lain &or 0 hate good sense"1Such 1%" the tu$n !# &ind !ut !# 1hich "u$$e%li"& c%&e-Su$$e%li"& 1%" #!$&ul%ted %nd gi4en % $!g$%& (0 And$e B$et!n' !ne !# the 5%$i" d%d%i"t"- A &edic%l "tudent %" 1ell %" % !et' he $!!"ed t! in4e"tig%te the !""i(ilitie" !##e$ed (0 lite$%$0 %cti4it0 #$eed #$!& $%ti!n%l c!nt$!l %" % &eth!d !# "0ch!%n%l0"i"- In hi" Manifeste du surrealisme !# *ABF' he #i$"t %tte&t" % de#initi!n' de"c$i(e" it' %nd indic%te" it" (%c/g$!und- Th!ugh n!t the 1!$/ !# % %inte$ thi" &%ni#e"t! &u"t (e c!n"ide$ed t! unde$"t%nd the !int !# 4ie1 !# "u$$e%li"&' 1hich i" &!$e th%n % the!$0 !# %$t-B$et!n #i$"t de"c$i(e" the tu$n !# th!ught di"tincti4e !# "u$$e%li"& in c!nt$%"t t! the c!n4enti!n%l' $e%li"t %ttitude- Thi" %ttitude $e#e$" t! %n %("!lute $%ti!n%li"& 1hich h%" the #ixed li&it" !# di"cu$"i4e $e%"!n' i" %l1%0" in %g$ee&ent 1ith c!&&!n "en"e' %nd c!n#ine" it"el# t! the t%ut!l!gic%l !""i(ilitie" !# l!gic7We still live under the reign o& logi$" " " " *ut no#adays logi$al (ro$esses are a((lied only to resolving (ro!les o& se$ondary interest" JTrueK logi$al ends es$a(e us, ho#ever" " " " Under $olor o& $iviliLation, under (rete't o& (rogress all that rightly or #rongly $an !e $harged to su(erstition or &an$y has !een !anned &ro the ind, all anner o& sear$hing &or truth #hi$h does not $on&or to usage has !een (ros$ri!ed",On the !the$ h%nd i" the &%te$i%li"t %ttitude C#!$ "! he c%ll" itD 1hich !en" u the d!&%in !# the i&%gin%ti!n %nd "h!1" the t$ue "0chic li#e hidden (ene%th $%ti!n%li)%ti!n7The iagination is (erha(s on the (oint o& a$)uiring its rights" 0& the de(ths o& our souls $on$eal strange &or$es $a(a!le o& augenting those on the sur&a$e or o& struggling vi$toriously against the it is to our !est interests to e'(loit the" " " "7The i&%gin%ti!n i" identi#ied 1ith % "u(c!n"ci!u"ne"" th%t i" &%de %%$ent t! u" th$!ugh d$e%&"- B$et!n %c/n!1ledge" the de(t !# the "u$$e%li"t t! F$eud- B0 %##i$&ing the unc!n"ci!u" "u$$e%li"& (egin" t! &!4e %1%0 #$!& d%d% %nd u$e neg%ti!n' t! e$ect % !"iti4e"t$uctu$e- Acceting the %uth!$it0 !# F$eud th%t the "u(c!n"ci!u" i" &!"t e%"il0 %$ehended in the d$e%& "t%te 1hich ? i" c!ntinu!u" %nd c%$$ie" t$%ce !# !$g%ni)%ti!n @ 1he$e%"' the 1%/ing "t%te i" !nl0 ? % hen!&en!n !# inte$#e$ence @F !(e0ing unc!n"ci!u" "ugge"ti!n"' the "u$$e%li"t ex%&ine" thi" d$e%& "t%te 1ith % ne1 intent7I !elieve in the &uture resolution o& these t#o states #hi$h in a((earan$e are so $ontradi$tory, that o& the drea and that o& reality, into a %ind o& a!solute reality, a surreality, i& one ay $all it su$h"3B0 di%lectic the t1! c!nt$%dict!$0 "t%te"' the d$e%& %nd $e%lit0' %$e %("!$(ed (0 % deee$ $e%l&- Thi" i" the hil!"!hic !"iti!n !# "u$$e%li"&- The thing" !# the !ute$ 1!$ld' th!ugh $e%l in the "en"e th%t the0 h%4e thei$ !1n indeendent exi"tence' l!"e thi" $e%lit0 in !u$ th!ught %nd ente$ int! ne1 $el%ti!n"hi" 1hich %$e "0chic%l' n!t h0"ic%l- T! the "u$$e%li"t FF % t!&%t! i" %l"! % child6" (%ll!!n @ %nd in thi" $el%ti!n"hi the 1!$d li@e i" ? "u$e""ed-@ I Ce$t%inl0 in "uch % $!g$%& !u$ "u"ici!n" !# the &%$4el!u" %$e ut in di"$eute %nd $e%"!n i" surclasse>We %"/ %t thi" !int' e$h%"' #!$ % de"c$iti!n !# thi" "u$$e%lit0- But thi" "h!1" 1e &i"unde$"t%nd- The "u$$e%l i" the l%"t d%$/ c!ntinent !# the &ind> it exi"t" (ut 1e c%nn!t 0et de"c$i(e it #!$ it h%" ne4e$ (een exl!$ed %nd it" (!$de$" h%4e (%$el0 (een t!uched %t ti&e"- Iti" he$e "u$$e%li"t %$ti"tic techni3ue" ente$' #!$ the0 %$e the &eth!d" (0 1hich the !et %nd the %inte$ c%n exl!$e the unc!n"ci!u" %" d!e" the "0ch!l!gi"t- Su$$e%li"&' the hil!"!hic !"iti!n' !"it" the "u$$e%l> "u$$e%li"&' the &eth!d' hel" t! de"c$i(e it- The du%lit0 i" %%$ent in B$et!n6" de#initi!n"7SURREAL0S9, N" " /ure (sy$hi$ autoatis !y #hi$h it is (ro(osed to e'(ress, either ver!ally, in #riting, or !y any other eans, the real &un$tioning o& thought" A di$tation o& thin%ing, in the a!sen$e o& all $ontrol e'er$ised !y reason and outside o& all aestheti$ or oral (reo$$u(ations"ENCICL" /hilos" Surrealis rests on the !elie& in the su(erior reality o& $ertain &ors o& asso$iation negle$ted !e&ore its tie, in the oni(oten$e o& dreas, in the distinterested (lay o& thought" 0t tends to ruin the de&initiveness o& all the other (sy$hi$ e$haniss and to su!stitute itsel& &or the in resolving the (rin$i(al (ro!les o& li&e"?B$et!n de"c$i(e" the #i$"t "u$$e%li"t &eth!d 1he$e(0 !u$ %cti4it0 i" #$eed #$!& $%ti!n%lc!nt$!l' "0chic %ut!&%ti"&- Thi" i" the %tte&t t! $ec!$d the "t$e%& !# uninhi(ited 4e$(%l i&%ge$0 #!$ !ne"el# %" % "0ch!%n%l0"t 1!uld th%t !# % %tient- In %" %""i4e % "t%te %" !""i(le !ne 1$ite" d!1n $%idl0 hi" #l!1 !# th!ught- O$ !ne &%0 d$%1 %t $%nd!& in % /ind !# d!!dling-The #i$"t &%ni#e"t! cl%$i#ie" the ide!l!gic%l (%"i" !# "u$$e%li"& %nd de"c$i(e" !ne !""i(le &eth!d #!$ it-In the Second manifeste du surrealisme !# *AHE' B$et!n decl%$e" th%t it i" the u$!"e !# "u$$e%li"& t! $!4!/e % ? c$i"i" !# c!n"ci!u"ne"" @ (0 ex!"ing the #%l"ene"" !# the !ld %ntin!&ie" 1hich h%4e "! l!ng $e4ented &%n/ind #$!& #inding the c!&&!n !int !# $e#e$ence-+ The ex!"u$e c%n (e"t (e &%de th$!ugh % "tud0 !# the $!(le& !# hu&%n ex$e""i!n #!$7No one, in e'(ressing hisel&, does !etter than to ad4ust hisel& to the (ossi!ilityo& the very o!s$ure re$on$iliation o& #hat he %ne# he had to say on a su!4e$t #ith that he didnCt %no# he had to say !ut has said"2The t1!2&!"t 4%lu%(le &e%n" !# ex$e""i!n %$e d$e%& %cc!unt" %nd %ut!&%tic text" C1hethe$ 1$itten' %inted' !$ d$%1n &%/e" n! di##e$ence %" thei$ %ut!&%ticit0 i" e4ident in %n0 !neD- The0 %$e 4%lu%(le (ec%u"e the0 %$e the &e%n" t! 1hich !ne &%0 tu$n 1hen the !(