In Constellations of Miro, Breton Paul Hammond unravels some of the mysteries of the call-and-response of these two Surrealists by reading the pictures against the poetry, the poetry against the pictures, and both against the madness of a history that none of us has left that far behind."--BOOK JACKET.

In The Rise of Surrealism, Willard Bohn examines the various literary and artistic developments that prepared the way for the international Surrealist movement—including Cubism, Metaphysical Art, and Dada—as well as the triumph of Surrealism itself. In an analysis that spans the first two-thirds of the twentieth century, Bohn surveys writers and artists from France, Italy, Germany, Spain, Argentina, Mexico, Chile, and the United States, examining both their aversion to mimesis and the solutions they devised to replace it. Much of the book is concerned with competing artistic models and with different strategies for creating avant-garde works, and focuses on such figures as Guillaume Apollinaire, Max Weber, Marius de Zayas, Francis Picabia, Giorgio de Chirico, André Breton, J. V. Foix, and Joan Miró. The dynamics of the imagery that painters and poets chose to employ and the new roles this imagery assumed in their compositions are also discussed.

First published in 1959, Surrealism remains the most readable introduction to the French surrealist poets Apollinaire, Breton, Aragon, Eluard, and Reverdy. Providing a much-needed overview of the movement, Balakian places the surrealists in the context of early twentieth-century Paris and describes their reactions to symbolist poetry, World War I, and developments in science and industry, psychology, philosophy, and painting. Her coherent history of the movement is enhanced by her firsthand knowledge of the intellectual climate in which some of these poets worked and her interviews with Reverdy and Breton. In a new introduction, Balakian discusses the influence of surrealism on contemporary poetry. This volume includes photographs of the poets and reproductions of paintings by Ernst, Dali, Tanguy, and others.

The sculptor Alexander Calder (1898-1976) and the painter Joan Miró (1893-1983) first met in Paris in 1928 and became life-long friends. This original and visually stunning book places the mobile sculptures of Calder alongside the poetical paintings of Miró and provides fresh insights into the visual dialogue between these two artists. What did the painter see in the sculptor? What did the sculptor see in the painter? These questions are answered through an extensive examination of the exchange of artwork and correspondence between the two artists, maintained across two continents and through the turmoil of war.

Forty important lithographic prints with line and composition comparable to the works of Miro's friend Picasso. Eerie, droll, technically brilliant, and aggressive.

"This is a kind of "essence of Breton", variously translated by some of our finest writers, each of whom highlights different facets of Breton's complex work. Mark Polizzotti's useful introduction provides context and a brief analysis of the artist and his times."—Diane di Prima, author of Recollections of My Life as a Woman "Mark Polizzotti, who is a poet, a translator, and the author of the definitive biography of André Breton, has chosen stellar translations of Breton's dazzling poetry and placed it in its lively context. This shapely introduction to the life and work of André Breton is smart, concise, and exciting. I cannot imagine a better one."—Ron Padgett, poet and translator of The Complete Poems of Blaise Cendrars "The Poets for the Millennium Series generally and André Breton's Selected Works specifically offers a workable image of an author and the work and the conjuncture, all at once. What comes across is a vivid presentation of Andre Breton not just as an art czar, a manifesto merchant, but a serious, haunted, inventive and strangely profound poet of the imagination, who invented or archeologized new ways of dreaming, but insisted on bearing witness with them in the actual world. Polizzotti does justice--as I think no other writer has--to the double burden of Breton's work."—Robert Kelly "A superbly chosen selection of Breton's poetry and prose, translated in every case with an elegant intelligence, and preceded by an unusually thorough introduction showing quite exactly how the poet's life informed each epoch of his work. It proves again the remarkable un-boringness of Breton, and how important he is now to our own poetry and to us.—Mary Ann Caws, author of The Surrealist Look: An Erotics of Encounter and editor of The Surrealist Painters and Poets

This first book published on film noir established the genre--a classic, at last in translation.