Surrealist painting 1-Contemporary Wall Art

Contemporary Wall Art,Long before the conflict between andrebreton1896-1966 and Tzara over dadaism,Great Big Canvas  Breton and poet Philip sopolt began exploring the imaginative levels of psychological experience through automatic writing.
The magnetic field was their first work published in 1920.
There are also some impressive visual metaphors in the works that flow out of the implicit metaphor for the suppression of reason.
Soon both artists and writers were interested in revealing this "process of thought as real" (as defined by Breton in his first surrealist manifesto).
The manifesto was published in the second half of 1924, but it was in 1928 that Breton established the importance of surrealist art in an important paper, surrealism and painting.
In a note to the manifesto, however, he called attention to the artists who might have been associated with literary surrealism at the time,Big Canvas Art among them several of the "brutalist" or "cubist" painters: mattis, delong, brock, and Picasso.
Their work does not quite fit Breton's definition of surrealism: pure psychological automatism.

Among them, however, was an Italian painter named George DE chirico, the founder of the short-lived school of metaphysics.
The name was given to him and the futurist carlo kara for their work in the city of ferrara in 1917.
Kiriko lived in Paris from 1911 to 1915, and his paintings were admired by apollinaire.
Adrienne's 1918 play, tillicia's breasts, is subtitled surrealist drama.
For the first time using the term, and himself a master and poet in the pursuit of language and psychology, it was natural for him to value kiriko's talent so much.
Because the early works of kiriko, like the works of the cubist painters supported by apolille, broke the visual logic conventions of painting and achieved more unexpected results.

At first glance, kiriko's world seems to have an illusion of order: neat lines, bright colors, soft light, and a form of waking day.
Yet space, and perhaps time, in this world have been found to be separated from the neat boundaries they have always followed.
In the evil creativity of an emperor (1914-1915), the non-logical juxtaposition of several perspectives on the interior of buildings, tables and various objects causes psychological and visual discomfort.
The sense of alienation, the sense of loss, the sense of isolation from other human beings,Large Canvas Art the sense of insecurity about one's own situation and the resulting sense of doubt about one's own character are very strong.
How does one know where he is or what object is in the foreground?
Even if we knew what they were, we still do not know who brought them here.
Headlines are another confusing factor.
It says nothing but gives rise to unfulfilled expectations.
Other titles, such as the mystery of the autumn afternoon or parting pain, convey associations implied by space.
Breton appreciated this because the proportions and perspectives of these Spaces are similar to our dreams.
Before that, the history of painting also shows that people built the world in the process of omnipotent dreams and irrelevant thoughts according to the definition of brittain on "a certain associative form of surrealism which has been neglected till now".
For Breton, the really surreal elements of painting can be produced by juxtaposing disparate things.
As the surrealist conte DE lautman suggested in the song of maldola (1888) :"
As beautiful as a sewing machine and an umbrella occasionally meet on the dissecting table."
Such casual encounters in real life are called "coincidences," and Breton defines them as "Objectivehazard."

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