The Occultation of Surrealism
The Occultation of Surrealism
Conference paper ESSWE 3: Lux in Tenebris. Szeged, HU.
Tessel M. Bauduin, University of Amsterdam: t.m.bauduin@uva.nl
Introduction
[--] Welcome.
The official birth of the movement was in 1924, with the publication of the first Manifesto. In the Second Manifesto, of 1929, André Breton, ‘father’ of Surrealism, called for ‘the occultation of Surrealism’. This, and other elements have led many to believe that Surrealism was very much involved with the occult. That is also my research-topic. Surrealism did have its brushes with occultism, and with esotericism more generally, in the 1920s and 1930s. But it was only during the Second World War, when most of the surrealists were in exile, that André Breton came to the conclusion that Surrealism now needed to make very serious work of its occult studies. The ‘occultation’ of Surrealism had been somewhat of a joke, but during the War, it became dead serious. The first exhibition the surrealists organized in Paris, after the War, was held in 1947. This show is the only surrealist exhibition where esotericism played such a prominent role. It exemplifies the trajectory Breton envisioned for esotericism in Surrealism, i.e. what the role was of esotericism, or occultism, in Surrealism.[1] Accordingly, today I will take you on a tour of this exhibition, to show what the ‘occultation’ of Surrealism actually entailed, I’ll briefly say explore why, and I’ll round off with saying some brief words about the reception.
The show
[--] The show was called ‘Le Surréalisme en 1947’, and held at the posh Galerie Maeght. Art directors were André Breton and Marcel Duchamp[2] Above all, the exhibition was a direct answer to the traumatic events of the Second World War.[3] The surrealists held forces such as rationalism and positivism at least partly responsible for the War. Many surrealists felt that the horrors of the War could only be overcome and addressed by a creative rebirth. And to bring
Conference paper ESSWE 3: Lux in Tenebris. Szeged, HU.
Tessel M. Bauduin, University of Amsterdam: t.m.bauduin@uva.nl
Introduction
[--] Welcome.
The official birth of the movement was in 1924, with the publication of the first Manifesto. In the Second Manifesto, of 1929, André Breton, ‘father’ of Surrealism, called for ‘the occultation of Surrealism’. This, and other elements have led many to believe that Surrealism was very much involved with the occult. That is also my research-topic. Surrealism did have its brushes with occultism, and with esotericism more generally, in the 1920s and 1930s. But it was only during the Second World War, when most of the surrealists were in exile, that André Breton came to the conclusion that Surrealism now needed to make very serious work of its occult studies. The ‘occultation’ of Surrealism had been somewhat of a joke, but during the War, it became dead serious. The first exhibition the surrealists organized in Paris, after the War, was held in 1947. This show is the only surrealist exhibition where esotericism played such a prominent role. It exemplifies the trajectory Breton envisioned for esotericism in Surrealism, i.e. what the role was of esotericism, or occultism, in Surrealism.[1] Accordingly, today I will take you on a tour of this exhibition, to show what the ‘occultation’ of Surrealism actually entailed, I’ll briefly say explore why, and I’ll round off with saying some brief words about the reception.
The show
[--] The show was called ‘Le Surréalisme en 1947’, and held at the posh Galerie Maeght. Art directors were André Breton and Marcel Duchamp[2] Above all, the exhibition was a direct answer to the traumatic events of the Second World War.[3] The surrealists held forces such as rationalism and positivism at least partly responsible for the War. Many surrealists felt that the horrors of the War could only be overcome and addressed by a creative rebirth. And to bring