Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
  • ICAA Record ID
    772520
    TITLE
    El surrealismo entre viejo y nuevo mundo (Segunda y tercera de cuatro partes) / Por Juan Larrea
    IN
    Cuadernos Americanos : La revista del nuevo mundo (México, D. F., México). -- Vol. XVI, No. 4 (Jul.-Ago. 1944)
    DESCRIPTION
    p. 201-228
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Larrea, Juan. "El surrealismo entre viejo y nuevo mundo (Segunda y tercera de cuatro partes)." Cuadernos Americanos: La revista del nuevo mundo (Mexico City) 16, no.4 (July-August 1944): 201-228.
    NAME DESCRIPTORS
Synopsis

In this section of his four-part essay, Juan Larrea discusses the creation, development, transcendence, and objectives of Surrealism, referring to a particular case to express the significance of the movement. He mentions Víctor Brauner, the Rumanian painter who, in 1938, “was the ‘chance’ victim in an incident in which the Surrealist painter Óscar Domínguez threw a glass at him that gouged out his left eye ball.” Strangely enough, seven years earlier Brauner had painted a self-portrait in which he portrayed himself without a right eye. Larrea interprets the incident as a way to grasp the essential focus of Surrealism: to have “one eye open to objective reality and the other one missing, in a symbolic affirmation of introspective vision.” It is no coincidence that, two years before Brauner painted his self-portrait, Luis Buñuel and Salvador Dalí premièred their Surrealist film, Un chien andalou [The Andalusian Dog, 1929], in which an eye drains from its socket.   

Annotations

At the end of the second part of his essay, the Basque painter Juan Larrea (1895-1980) attempts to discern the future of Surrealism during the turbulent years at the beginning of the Second World War. Part of the group remains in Europe (specifically in Paris and Marseille), while another, highly relevant segment sets sail for the new world (the United States, the Caribbean, and Mexico.) In the third part of his essay, Larrea claims that the continuity of the surrealist movement in America “coincides perfectly with Mabille’s prophecy that attributed to Spain the ‘myth’ that leads to a new awareness, and named Mexico and New Spain as the land of vision.” 

See the first part of this essay in doc. no. 772513, and the fourth part in doc. no. 772528.

Researcher
María Teresa Suárez / Guadalupe Tolosa : CURARE A. C.
Team
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Location
Ateneo Español de México A. C.