超现实主义
2023-08-27 00:15阅读：
SURREALISM, an artistic movement of the
early 20th century that stressed fantasy and the
subconscious mind. The surrealists were an organized group of
artists and writers who gathered about the poet Andre Breton in
1924 in Paris and who later became active throughout Europe, the
United States, and Japan. They sought to revolutionize art so that
both subject matter and stylistic coherence were violently
anti-traditional if not actually fantastic.
超现实主义，一种20世纪早期的艺术运动，强调幻想和潜意识的意向。超现实主义者是一群于1924年在巴黎聚集在诗人安德烈·布勒东的周围，有组织的艺术家和作家，后来在遍及欧洲，美国和日本都变得很活跃。他们试图革新艺术，以使主题与风格保持一致性，即使实际上不那么精彩，也是强烈反传统的。
There is no one surrealist style in painting. Some artists,
such as Andre Masson and Joan Miro, produced abstract works
employing an automatism generated by inner impulses. Others, such
as Salvador Dali, preferred a kind of fantastic but illusionistic
rea
lism.
在绘画中并没有超现实主义的风格。一些艺术家，比如安德烈·马森和琼·米罗通过内心的冲动，利用无意识行为创作了抽象作品。其他的人，如萨尔瓦多·达利则更喜欢一种梦幻的，但幻想的现实主义。
Surrealism in the broadest philosophical sense is one of the
poles toward which art and thought in all periods may be drawn—the
world of dreams and fantasy. In this sense, Bosch in the
15th century, Salvator Rosa in the 17th, and
Goy in the 19th may be considered surrealists. Unlike
20th century surrealists, however, they made the
unconventional, fantastic element in their painting secondary to
the traditional form of a work of art.
在最广泛的哲学意义上的超现实主义是所有时期的艺术和思想可能趋向的两极之一---梦境与幻想世界。在这个意义上，15世纪的博斯，17世纪的萨尔瓦托·罗萨，以及19世纪的戈伊可能被认为是超现实主义艺术家。然而，与20世纪的超现实主义者不同，他们在绘画中将非传统的，奇异的元素置于艺术作品的传统形式之后。
Source. The
ideological origins of surrealism are found principally in Freud’s
method of psychological investigation, which gave the artists a
model for their own experiments and revealed to them a new world of
fantastic images drawn from the subconscious and from dreams. The
literary precursors of the movement were Baudelaire and Poe among
the romantics, Rimbaud and Mallarme among the symbolists, and,
later, Apollinaire. In the visual arts the surrealists looked back
not only to the great painters of imaginary subjects but also to
the sculpture of primitive peoples, especially the fantastic
figures and masks of Oceania.
来源。超现实主义形而上学的起源主要存在于弗洛伊德的心理调查方法中，它为艺术家自己的实验提供了一种模型，并向他们展示了从潜意识和梦境中得到的奇幻意象的新世界。该运动的文学先驱是浪漫主义者中的波德莱尔和波，象征主义者中的兰波和马拉美，以及后来的阿波利奈尔。在视觉艺术中，超现实主义者不仅回顾想象主题的大师画家，而且也回顾原始民族的雕塑，尤其是大洋洲那些奇妙的图形和面具。
Precursors of the surrealists in European painting were
Francis Picabia, whose works with nonsense titles were among the
first abstract paintings and Marcel Duchamp, whose Nude
Descending a Staircase caused a sensation in the art world.
Both men exhibited at the Armory Show in New York in 1913. Man Ray
produced collages in 1916 that were already surrealist in
spirit.
欧洲绘画中超现实主义的先驱是弗朗西斯·皮卡比亚，其无意义标题的作品是最早的抽象绘画，而马塞尔·杜尚，他的《下楼的裸女》在艺术界引发了一场轰动。两人都在1913年的纽约军械库展览会上展出过作品。曼·雷在1916年创作的拼贴画在精神上已经是超现实主义。
The Dadaists, a group founded in 1916, were painters who
worked toward insurrection against whatever was pompous,
conventional, or just boring in art. After Dadaism degenerated into
public demonstrations, violent arguments, and riots, many of its
members became surrealists.
创立于1916年的达达主义者是一群画家，他们致力于反对艺术中任何浮夸，传统，或确实无聊的东西。在达达主义演变成公开示威、剧烈争论和暴动之后，它的许多成员都变成了超现实主义者。
The surrealists shared with the Ddaists the desire to break
with the past. Unlike the anarchistic Dadaists, however, the
surrealists were a closed group obedient to the doctrinaire
theories of Breton. They were more concerned with the revolutionary
aspects of a new view of life than with creating an art style. This
new view attempted to fuse the real and the irrational into, as
Breton later put it, “a sort of absolute reality, a
surreality.”
超现实主义者与达达主义者分享了与过去决裂的愿望。然而，与无政府主义的达达主义者不同，超现实主义者是一个服从布勒东教条主义理论的封闭群体。他们更关注一种新人生观的革命方面，而不是创造一种艺术风格。正如布勒东后来说的，这种新观点试图将真实与非理性融入“一种绝对的现实，一种超现实”中。
One of the many original forms of EXPRESSION the surrealists
developed is Ernst’s method of frottage, or rubbings taken
from wood or other rough surfaces capable of producing evocative
shapes. Frottage stemmed from experiments in “automatic” drawing,
which Ernst had conducted with Breton about 1922, and from Breton’s
theories about inducing hallucinations by exciting the
sensibilities. Another form of EXPRESSION was corps exquis,
a process in which each of several persons contributed portions of
a common drawing without having seen what the others had done. The
surrealists also continued experimenting with collage.
超现实主义者发展的许多原始表达形式之一是恩斯特的拓印方法，或从木料或其它粗糙表面能够产生让人联想形状的拓片。拓印源于恩斯特与布勒东大约于1922年指挥的“自动的”绘画实验，以及布勒东关于通过激发感官诱发幻觉的理论。另一种表现形式是美艳僵尸，一种几个人中的每个人都对一幅普通绘画贡献了一部分，却看不出贡献痕迹的过程。超现实主义者还不断试验了拼贴画。
The year 1929 saw the rise of severe internal conflicts over
some of the surrealists’ support of the Communist part in France.
Breton’s second surrealist manifesto (1930) attempted to redefine
surrealism in terms sympathetic to communist ideology but not to
its practice in Stalinist Russia. Although he continued to stress
that artistic action arose from social and political revolution and
had no aesthetic value in itself, surrealist painters often freely
explored the unconscious. In 1939, however, Freud labeled the
surrealist “complete fools.”
在1929年，由于一些超现实主义者对法国共产党的支持，人们看到了严重的内部冲突。布勒东的第二个超现实主义者宣言（1930年）试图用同情共产主义意识形态的术语重新定义超现实主义，但却不同于斯大林主义的俄罗斯做法。尽管他不断强调艺术行为起源于社会和政治革命，本身并无美学价值，但超现实主义的画家经常自由地讨论无意识。然而，在1939年，弗洛伊德给超现实主义者贴上了“十足的傻瓜”的标签。
Influence.
Surrealism had already spread outside France, and with the advent
of World War II, many European surrealists fled to the United
States. These were attacked by artist and writers remaining in
France, such as Camus and Sartre, for nihilism and inaction, for
contriving their little “games” instead of resisting the enemy.
Following the war there was a surrealist exhibit in Paris in 1947,
but after that the movement as an ideological and artistic force
ceased to exist.
影响。超现实主义已扩散到法国以外，而随着二次大战的到来，许多欧洲超现实主义者都逃往了美国。这些人受到了留在法国的艺术家和作家，诸如加缪和萨特，攻击他们的虚无主义和不作为，设计他们的小“游戏”来取代抵抗敌人。战后，1947年在巴黎举办了一个超现实主义展览，但之后，该运动作为一场意识形态和艺术力量则不复存在了。
In the United States, however, abstract forms of surrealism
influenced American painters. Arshile Gorky’s early work reflects
the biomorphism of Miro and Matta. The free improvisation of
Jackson Pollock’s drip style is based on the surrealist
methodology of automatism. Surrealist influence, by releasing the
unconscious, freed Americans from the socially oriented realism of
the 1930’s and opened up the new EXPRESSIVE and dynamic
potentialities of abstract EXPRESSIONISM, which became the first
internationally recognized American painting style.
然而在美国，超实现实主义的抽象形式却影响了美国的画家。阿尔希尔·戈尔基的早期作品反映了米罗和马塔的生物形态主义。杰克逊·波洛克的水滴式的自由即兴则是基于自动作用的超现实主义的一套方法之上的。通过释放的无意识，超现实主义的影响将美国人从20世纪30年代的社会导向的现实主义中解放出来，开启了抽象表现主义新的富于表现力和充满活力的可能性，这成为了第一个国际公认的美国绘画风格。
HERSCHEL B. CHIPP, Author of
“The Theories of Modern Art”
赫歇尔·B.
奇普，“现代艺术理论”的作者
2023年8月19日译
（译者注：该词条位列《大美百科全书》1985年版，第26卷，第67页至68页）
