Exercise Week 14: Surrealism & Dali Taking into account “Video nº1: Introduction to Surrealism”): Which are the 5 experimental tactics in use by the Surrealist artists and writers?
5 experimental tactics used by the Surrealist artists and writers
Exercise Week 14: Surrealism & Dali
1. Taking into account “Video nº1: Introduction to Surrealism”( https://www.youtube.com/watch?v=wtPBOwE0Qn0 ): Which are the 5 experimental tactics in use by the Surrealist artists and writers?
2. Taking into account “Video nº2: Surrealism & Dalí”( (https://www.youtube.com/watch?v=rp2PRA0qaD4 ): Who is André Breton and which is his “revolutionary idea” that is in the basis of Surrealism?
3. Taking into account the Power Point presentation (PDF file) and the Zoom sessions on Dalí (same PDF file), answer the following questions:
When did Dalí start painting with a Surrealist aesthetic?
What is the paranoiac-critical method of Dalí?
Which is the most important artistic technique in his paranoiac-critic method?
Which type of brushstrokes Dalí used from the beginnings of the 30s to the end of his life?
When did Dalí’s Nuclear Mysticism period begin?
Describe any of the paintings of Dalí’s Nuclear Mysticism period.
4.Lastly, after doing your virtual tour of Dalí Museum (Figueres, Spain) https://my.matterport.com/show-mds?m=nuidLwVa5vK , choose your favorite hall and describe it. You have direct access to the virtual tour of this museum in this week folder.
The Surrealist movement began as a literary group strongly allied to Dada, emerging in the wake of the collapse of Dada in Paris, when André Breton’s eagerness to bring purpose to Dada clashed with Tristan Tzara’s anti-authoritarianism.
Breton, who is occasionally describ ed as the ‘Pope’ of Surrealism, officially found ed the movement in 1924 when he wrote “The Surrealist Manifesto.”
However, the term “surrealism,” was first coined in 1917 by Guillaume Apollinaire when he used it in program notes for the ballet Parade, written by Pablo Picasso, Leonide Massine, Jean Cocteau, and Erik Satie.
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