Hannah Höch , Love, 1931 [also]
thanks to Art Blart
Grete Stern, Sueno 35, 1949 from Light of Modernity in Buenos Aires 1929-54 [featuring also Annemarie Heinrich]
currently on view at Nailya Alexander Gallery [October 18, 2011- January 11, 2012]
thanks to La Lettre
Le mystère est exempt de pudeur, 1935 [ ‘featuring’ Yva Richard & Studio Biederer ]
from infactoweb
Georges Hugnet [more]
L’Oru-boru À Corset [“The Corsetted Oru-Boru”] No. 18 from the series La Vie amoureuse des Spumifères [“The Love Life of the Spumifers”] ca. 1948
from Georges Hugnet: The Love Life of the Spumifers
November 16–January 28, 2011
Exhibition Opening: November 15, 6 to 9PM at Ubu Gallery
The Love Life of the Spumifers, or La Vie amoureuse des Spumifères, combines Surrealist poetry’s fascination with l’amour and Dada’s tendency towards deliberate grammatical spontaneity and absurdity. Words like bowoodling, friskadoodling and alabamaraminating are concocted by Hugnet to describe the seductive strategies of his imaginary creatures. Each text is dedicated to a different creature, describing how it woos, teases, gropes and molests its intended love conquest. Each Spumifer is illustrated by a gouache “beast,” which is added to an early Twentieth Century vintage “French” photo postcard. The mellifluously painted monsters slyly slither around the bare flesh of the pictured “mademoiselle,” nibbling and tickling, arousing her sexual desire. Hugnet’s illustrations seduce the viewer, parodying the human pursuit of love and lovemaking through these adorable grotesques.
A Chronicle of Drifting, 1949 by Kansuke Yamamoto *
Untitled / Nudes Dancing around a Gold Chalice, c. 1936 by Nusch Eluard *
from “Angels of Anarchy - Women Artists and Surrealism” edited by Patricia Allmer [Prestel, 2009]
RIP Leonora Carrington [April 6, 1917 – May 25, 2011]
Collage portrait from 1987 by Kati Horna
Troisième cahier [Book Three]
Mardi [Tuesday]
Element: Le Feu [Fire]
Example: La cour du Dragon [Dragon Court]
Illustration from Une semaine de bonté -A Week of Kindness or Seven Deadly Elements [see also] by Max Ernst
via History of Art
Untitled collage from Dons des Féminines,1951 *
by Valentine Penrose [wife of Roland Penrose]
from Surrealist women: an international anthology by Penelope Rosemont
Collage #31,1937 by Karel Teige [also]
from calypsospots
Untitled (Woman With Skull) by Nusch Éluard, c. 1935
[fantastic find from frenchtwist;]
Adolf Hoffmeister illustration for Lautreamont’s Poesies [Bratislava, 1967]
see Psychic Explosion & more @ A Journey Round My Skull
[ eBook of Poesies in French]
Surrealism - takes advantage of ambiguity and lends itself to transposition - André Breton used to say. I think that a photographer who suggests, describes or finds so much (even though it is his duty never to falsify) is also entitled to use his negatives as a material which can create a dream. Surrealism is often pathetic or cruel, so why couldn’t it be loveable and poetic ?