“One of the most considerable achievements of Surrealism was its discovery that many writers and painters of the past had been Surrealists without knowing it.”

As quoted in Cohn Existentialism (1948), p. 36

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Henri Peyre4

American linguist 1901–1988

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“The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism... In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

“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

“…there is a striking similarity in the surrealist and abstract painters attitude to the object; both have a horror of it in its proper context.”

John Piper (artist) (1903–1992) English painter and printmaker (1903-1992)

Lost, A valuable object, in Myfanwy Piper's anthology-"The Painters Object" 1937

“writers without books, poets without verses, painters without pictures p198”

Fernando Sabino (1923–2004) Brazilian writer

“I find myself lined up with the surrealists because Surrealism means freedom for the creative side of man, for surprise & discovery & life, for an opening out & widening of mans consciousness, for changing life & against conserving worn out traditions, for variety not a uniformity, for opening not closing.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, Unpublished notes' for 'The Sculptor Speaks' (1937), p. 123

“I abhor vivisection. It should be abolished. I know of no achievement through vivisection, no scientific discovery, that could not have been obtained without such barbarism and cruelty. The whole thing is evil.”

Charles Horace Mayo (1865–1939) American physician

Heard, personally, in 1921 or 1922 by the interviewer William H. Hendrix, staff writer for the New York Daily News, and later reported by Hendrix in New York Daily News, 13 March 1961; see "Animal Experiments", in Los Angeles Times, 26 October 1991 http://articles.latimes.com/1991-10-26/entertainment/ca-318_1_ecumenical-patriarch-dimitrios. Quoted in Hans Ruesch, Slaughter of the Innocent, Bantam Books, 1978, p. 235.

“In recent times, Surrealist painters have used descriptive illusionistic academic methods.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

In a letter to Polish poet Jan Brzekowski, ca. 1930, co-publisher of the Franco-Polish magazine 'L'art contemporain'; from Jours effeuillés: Poèmes, essaies, souvenirs, Hans Arp, Gallimard, Paris 1966, p. 63
Arp's critical quote refers to the creation of art by the French Surrealists in which Jean Arp participated for a few years and then departed.
1930s

“Despite my fervour for many Surrealist painters, I was soon wary of the preeminence of those 'literary anecdotes' that made many works appear as 'genre clichés', not unlike nineteenth-century pastiches. They often ignored the visual possibilities of the painting medium.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977

“The Anarchists most certainly believe in the Church; only they insist that all its work shall be purely voluntary, and that its discoveries and achievements, however beneficial, shall not be imposed upon the individual by authority.”

Benjamin Ricketson Tucker (1854–1939) American journalist and anarchist

Individual Liberty (1926), Liberty and Politics

“I have always been a huge admirer of my own work. I'm one of the funniest and most entertaining writers I know.”

Mel Brooks (1926) American director, writer, actor, and producer

“One of the most considerable achievements of Surrealism was its discovery that many writers and painters of the past had been Surrealists without knowing it.”

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Henri Peyre4

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