Dada and Surrealism: A Very Short Introduction

One of the better of the series. The author's perspective is clearly stated and the thesis is followed throughout the work. A wonderful summation of 2 important artistic movements which reach far beyond their short popularity.

This is a 5 star for a great explanation and history of this artistic period. One of the few movements that encompassed art, music, literature and politics. A dramatic historical time period pre and post WW1 where the innocence of the world was revealed. Now if your not an art history person this may not make you become one, but if you are, it's a great read.

As a person with an enduring fascination and respect for the early Dadaists I found this introduction offered a very good and (despite the title) in-depth coverage of most aspects of Dada and Surrealism.The theme is comparison and contrast and also the development of thematic elements in both currents: how they rose to, or challenged each other and society. The basic differences in Dada as Anti-Art and Surrealism as Art-for-arts sake is well considered. The latter bourgoeise taste was very much derided by the original Dadas. The political development of both groups is also analysed, their stances on feminism, colonialism and mass movements.The one thing that I found not covered in this book -- and is also not covered in most books on this subject is, how two movements with such anti-establishment themes fared in the sometimes authoritarian societies that spawned them... how for example were the German Dadaist allowed to escape the Freikorps and later the Nazis? What did Franco think of Dali and Picasso? Some French Dada/Surrealists such as Andre Breton were able to escape from Vichy France to America, but what about the others...?In short, although both streams rebelled against the main thoughts that dominated society -- they were almost all consumate individualists -- how were they able to do so? Since most Dadaists survived WWII I must surmise that either Hitler left them alone, or they lowered their profile to such a degree that they become insignificant. But again, since they were at the forefront of criticising the automaton man that society produced in WWI, the question remains, how did they manage to avoid getting it in the neck when the rest of the world was racing headlong into the twin dispairs of Fascism and Communism?

Great!

When you hear the word "Surrealism" today, there's a 95% probability that it means "Dali and Magritte", whose imagery is not only enormously famous on its own, but also has had a significant influence on the culture in general. The actual Surrealist movement, however, was NOT a group of painters who decided to paint eccentric dreamlike images - instead it was a group of far-left artists who tried to deal with the shock of World War I by embracing irrationality and creating their own brand of Freudo-Marxism, and for whom the traditional technique of oil painting was totally alien at first and at best auxiliary later (true, Salvador Dali ended up completely hijacking the Surrealist brand) - and the topic of the book is the early history of this group, so it is justified that surrealist painting is discussed very briefly (about 5% of the book is about it), and surrealist painters like Kay Sage or Remedios Varo are not even mentioned.This division of topics in the book is understandable from a historical perspective, but I was still disappointed by having a full chapter dedicated to politics and almost nothing to painting. One more issue with the book is that the author seems to be a Marxist himself (using terms like "late capitalism"), which distorts the book a little.

Usually I read these sorts of books when I know little or nothing about the subject in question. In this case, however, I had a considerable familiarity with surrealism and dada. Still, I found this book provided an excellent historical overview of both movements. The greater and even the not-quite-great figures are all present and profiled and their contributions put into context. I thought the level of analysis was actually a cut above what you usually get in these sorts of introductory guides and yet the text remained clear and accessible; even those readers already somewhat knowledgeable about dada and surrealism are likely to find a few fresh and challenging insights.((Two caveats: the major impact of WWI on the Dadaists struck me as seriously understated and the revisionist groping for "gender correctness" anachronistic and distorting.))In the end, you can't go wrong with this handy little book if what you're looking for is a concise and intelligent dada/surrealist breviary. If, like me, you've read a lot of the primary texts and are a long-time fan of the artistic product of both movements, but found that you've done so in a haphazard and piecemeal fashion, this book will gather up and organize those pieces for you.You'll feel like you took that class in art history that you never -though you wish you had--taken in school.

love this book :)

I have read several books in this series, & by my inexpert standards, this one is the most authoritative, informative, well-written, and useful. The book is a "short introduction" that provides a good platform for more intensive research--all of the guideposts seem to be there. Chapters 5 & 6, for example, make me eager to know much more. My primary criticism is that Hopkins should have differentiated the various factions of Dadaism more clearly--Zurich, Berlin, Cologne, Paris, New York, etc. I found that, on too many occasions, I needed to re-read material to be certain what city I was in.