Surrealist Quotes
The best sayings about Surrealist that you can share on Instagram, Pinterest, Facebook and other social networks!
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Ordinary life does not interest me. I seek only the high moments. I am in accord with the surrealists, searching for the marvelous. I want to be a writer who reminds others that these moments exist; I want to prove that there is infinite space, infinite meaning, infinite dimension. But I am not always in what I call a state of grace. I have days of illuminations and fevers. I have days when the music in my head stops. Then I mend socks, prune trees, can fruits, polish furniture. But while I am doing this I feel I am not living.
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I like Salvador Dali and Rene Magritte. I also like the Scottish artist John Byrne, another surrealist.
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The surrealism of my pictures was nothing but the real made eerie by vision. I was trying to express reality, for there is nothing more surrealist.
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Ordinary life does not interest me. I seek only the high moments. I am in accord with the surrealists, searching for the marvelous.
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A text makes the word more specific. It really kind of defines it within the context in which it is being used. If it is just taken out of a context and presented as a sort of object, which is what - you know, which is a contemporary art idea, you know. It is like an old surrealist idea or an old cubist idea to take something out of context and put it in a completely different context. And it sort of gives it a different meaning and creates another world, another kind of world in which we enter.
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The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
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There is nothing so loathsome as a sentimental surrealist.
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The simplest Surrealist act consists of dashing down into the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd.
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The taste for quotations (and for the juxtaposition of incongruous quotations) is a Surrealist taste.
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I am not a surrealist. I am only a realist. All this group - surrealists - use my name. No, no, I am realist.
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The purest surrealist act is walking into a crowd with a loaded gun and firing into it randomly
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I wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art.
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Really, I do not know whether my paintings are surrealist or not, but I do know that they are the frankest expression of myself.
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The Surrealist supernatural is a bit predictable but given the choice between supernatural and anything else, I would have no hesitation. Long live supernatural!
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The simplest Surrealist act consists of dashing down the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd. Anyone who, at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in that crowd with his belly at barrel-level.
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Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.
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Luis Bunuel's two semishort surrealist hand grenades (cowritten in varying degrees with Salvador Dali) make a double bill that can restore your faith in the subversions of youth. Pure Spanish-Parisian piss and vinegar.
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To convulse reality from within, to demonstrate it as fractured spacing, became the collective result of all that vast range of techniques to which surrealist photographers resorted and which they understood as producing the characteristics of the sign.
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All cities are geological; you cannot take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.
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The more I look at most of the art movements, it's all occultism, when you get down to it. The Surrealists were openly talking about being magicians.
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I've always been a fan of reading art catalogues from exhibitions, and plays, and I've worked with a surrealist German playwright, Heiner Müller.
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In the future, we've forgotten it. It's disappointing to find out that the past is the present is the future. Nobody wants that. And yet, that's what it is. Maybe it's a kind of surrealist move, to use language like "post-racial" - thinking that if you create the language for it, it will happen. I wish it worked that way. But that's not our reality.
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Imagism was a reductio ad absurdum of one or two tendencies of romanticism, such a beautifully and finally absurd one that it is hard to believe it existed as anything but a logical construction; and what imagist found it possible to go on writing imagist poetry? A number of poets have stopped writing entirely; others, like recurring decimals, repeat the novelties they commeced with, each time less valuably than before. And there are surrealist poetry, and political poetry, and all the othe refuges of the indigent.
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I was both charmed and moved by Midday with Buuel, Mexican filmmaker and writer Claudio Isaac's personal and very poetic recollection of his friendship with his mentor, the Spanish surrealist Luis Buuel.
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My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments.
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We know the surrealist solution: concrete irrationality, objective risk. Poetry is the conquest, the only possible conquest, of the 'supreme position', 'a certain position of the mind from where life and death, the real and the imaginary, the past and the future... cease to be perceived in a contradictory sense.'
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I never knew I was a surrealist till Andre Breton came to Mexico and told me I was.
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I still love poetic imagery. I love the idea of using surrealist speak to generate lyrical content and I love the way English can be exciting in and of itself.
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I got myself into a lovely little shall we say controversy with André Breton, by pointing out that the discipline of spontaneity, which he was asking his surrealist neophytes to adopt, was new for language but something that composers had been practicing for centuries.
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The surrealist thinks he has outstripped the whole of literary history when he has written (here a word that there is no need to write) where others have written "jasmines, swans and fauns." But what he has really done has been simply to bring to light another form of rhetoric which hitherto lay hidden in the latrines.
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