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By William S. Rubin

Illustrated survey of the nice events of Dada and Surrealism, describing their start and improvement, their philosophies, the artistic endeavors they produced, and their contribution to the paintings of the current.

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In many number of movement of the creative hand. There were no preconceived subjects, but as outlines contoured the surface, they provoked associations to of the improvisations at the Cabaret Tzara invented the "accidental poem," made by words of any newspaper article, were never defined in a literal human life. These manner, Arp always prefer- ambiguous form that suggests much but identifies nothing. The pencil outlines once drawn, he filled in the ring the contours with black ink, often changing and adjusting them, and even eliminating shapes as he brought the drawing to completion.

Three for the Continent, the New York. Surrealists, In Paris, Man Ray who encouraged him of object-maker; under their influence his painting and drawing was led into the more illusionist vein of his portrait of the Marquis de Sade 3i (fig. 37). 33 man inches. ray. Aerograph. 1919. Airbrush and watercolor, 29' Cordier & Ekstrom, Inc.. New York 2x23V 34 above man ray. Tioe Enigma of rope over sewing machine. 35 Isidore Ducasse. (1920). Cloth and longer extant below christo. Package on W'beelbarron-.

Demonstration Hydrometrique ture. (1920). Collage of pasted papers. Tranche. Paris 9' 2/ 6 3 4 a Tuer par la Temperainches. Galerie Jacques however, more manifestly reflected lithographs called Fiat Modes in Ernst's series (fig. 65). is, of But the absence of above all, modeling in the round, combined with the abstract nature of these linear schemas, impeded three-dimensional illusions and kept the forms clinging close to the picture piane. Later, from 1921 to aerial perspective and, 1924, Ernst made large paintings, such as TJje Elephant Celebes (page 84) and CEdipus Rex (fig.

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