“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 Breton 70

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

Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

“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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“Had Abraham Lincoln died from any of the numerous ills to which flesh is heir; had he reached that good old age of which his vigorous constitution and his temperate habits gave promise; had he been permitted to see the end of his great work; had the solemn curtain of death come down but gradually, we should still have been smitten with a heavy grief, and treasured his name lovingly. But dying as he did die, by the red hand of violence, killed, assassinated, taken off without warning, not because of personal hate, for no man who knew Abraham Lincoln could hate him, but because of his fidelity to union and liberty, he is doubly dear to us, and his memory will be precious forever. Fellow citizens, I end, as I began, with congratulations. We have done a good work for our race today. In doing honor to the memory of our friend and liberator, we have been doing highest honors to ourselves and those who come after us. We have been fastening ourselves to a name and fame imperishable and immortal; we have also been defending ourselves from a blighting scandal. When now it shall be said that the colored man is soulless, that he has no appreciation of benefits or benefactors; when the foul reproach of ingratitude is hurled at us, and it is attempted to scourge us beyond the range of human brotherhood, we may calmly point to the monument we have this day erected to the memory of Abraham Lincoln.”

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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

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André Breton 70

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