![]() ![]() Surrealism’s raison d’être was the bold exploration and expression of an artist’s subconscious, and there was nothing in theory that gave a man’s subconscious precedence over a woman’s. Max Ernst alone counted Leonor Fini, Dorothea Tanning, Meret Oppenheim and Leonora Carrington as a wife or girlfriend. Several of the first female Surrealists actually joined the movement via an oblique route: that is, as the lovers of male Surrealists. How to explain this seeming paradox? Well, in part it was down to the simple passage of time: a small masculine cohort had, by the mid-1930s, developed into a much larger, more diverse one. ![]()
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