“In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense.”

— André Breton

Breton's quote refers to the start of the term Surrealism, together with Philippe Soupault
Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

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André Breton70

French writer 1896–1966

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“Those who might dispute our right to employ the term SURREALISM in the very special sense that we understand it are being extremely dishonest, for there can be no doubt that this word had no currency before we came along. Therefore, I am defining it once and for all: SURREALISM, Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner–the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.”

André Breton (1896–1966) French writer

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“When… we have a series of values of a quantity which continually diminish, and in such a way, that name any quantity we may, however small, all the values, after a certain value, are severally less than that quantity, then the symbol by which the values are denoted is said to diminish without limit. And if the series of values increase in succession, so that name any quantity we may, however great, all after a certain point will be greater, then the series is said to increase without limit.”

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“Friends and fellow citizens, I warmly congratulate you upon the highly interesting object which has caused you to assemble in such numbers and spirit as you have today. This occasion is in some respects remarkable. Wise and thoughtful men of our race, who shall come after us, and study the lesson of our history in the United States; who shall survey the long and dreary spaces over which we have traveled; who shall count the links in the great chain of events by which we have reached our present position, will make a note of this occasion; they will think of it and speak of it with a sense of manly pride and complacency.”

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“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, <br class="br">1940 - 1948, Various sources

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Official Report of Proceedings of the Hong Kong Legislative Council

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