Leonora Carrington was an English-born surrealist artist who lived from 1917-2011. She was one of the first women to join the surrealist movement in the 1930s after being introduced to surrealist art as a teenager. Carrington developed a unique surrealist style that incorporated her interests in mythology, alchemy, animals, and feminism. She created over 1,000 artworks in various mediums throughout her life, often using recurring motifs of hybrid human-animal figures and powerful female forms. The summary examines key events in Carrington's life and analyzes some of her most famous paintings to showcase her surrealist techniques and themes around dreams, transformation, and women's identities.

1. Student
Prof. Rosemary O’Neil
Latin America
March 28th 2016
FROM LEONORA TO MODERN SURREALISM
Leonora Carrington, the one of most important artists in surrealism, passed away on
25th May in 2011. Her achievements, which are in art world and real life, could not be ignored,
even though she never thought that she was a transmitter of art. Leonora Carrington was born
in Clayton Green, which is a large affluent village in England. When she was ten years old, it
was her first time to see a surrealist painting and she was attracted to it. After several years
studying in Art School, she became familiar with surrealism and had her own style. In1939,
her first surrealist artwork, “The Inn of the Dawn Horse” was created. In 1947, one business
man bought a lot of Carrington’s paintings and arranged a show in New York. From that on,
the name, Leonora Carrington, was known by many people who are interested in art.
After 1960s, she moved to in Mexico City and spent the rest of her life over there. A
mural, which is named “El Mundo Magico de los Mayas” and affected by the culture and stories
of region, was created, when she was living in Mexico City. In her whole life, she created more
than 1000 artworks, such as canvases, sculptures, tapestries and so on. Leonora Carrington was
great at using some animals, such as cats, birds and dogs, as the main role or onlooker to create
mysterious and dreamy scene in her artworks. Right now, her artworks still are showed in Paris,
Mexico and New York.
Leonora Carrington developed a woman centered of surrealist and her painting always

2. tried to express that not only her interests in alchemy and occult, but also her love of animals.
Meanwhile, her artworks reflected that she wanted to be detached reality. The idea of half-
human and half-animals is usually in her mind and she also thought that there is animal’s soul
in human’s body, so, in some of her paintings, some roles have an animal face with features of
human body. Carrington shared the surrealists’ keen interest in the unconscious mind and dream
imagery. Meanwhile, she put her own unique culture and style, such as Celtic literature,
Renaissance painting, Central American folk art, medieval alchemy, and Jungian psychology.
Carrington’s arts try to state the idea of sexual identity and express the independent side of
female. Her paintings are about her life and friendships and represent women’s self-
perceptions. Her paintings are light which could drive people into crazy or blind people’s eyes.
In coming few paragraphs, some of Carrington’s important life events are explained through
her paintings.
This painting, which name is
Self-Portrait, drawn in 1937-
38, could provide Carrington’s
perception of reality and
exploration of her own
femininity. She drew this
painting about her daily life. In
this painting, she is wearing a
riding clothes and facing to audience. Her pet, a female hyena, is standing right next to her and

3. trying to catch Carrington’s hand, when Carrington extends her hand to hyena. Carrington is
good at using hyena or other animals as surrogate for herself in her art works. She always put
herself into a painting with animal’s rebellious spirit. For instance, in this painting, there are
two horse. One is running into the forest and the other is sculpture which is hang on the wall.
Carrington uses the sculpture of horse to express about her childhood. She grew up in an
aristocratic household in the English countryside and fought for her education and dream. The
horse, which is running into
forest in painting, states her
dream and expresses about her
dream of freedom.
This painting, “The Meal of
Lord Candlestick” Finished
soon after her departure from
England and the start of her
issue with Max Ernst in 1938. This canvas catches Carrington's defiant soul and dismissal of
her Catholic childhood. "Master Candlestick" was a handle that Carrington used to refer to her
dad. The title of this work accentuates Carrington's release of her dad's fatherly oversight. In
this scene, Carrington likewise changes the custom of the Eucharist into a dynamic presentation
of savageness: ravenous female figures eat up a male newborn child lying on the table. The
table itself is a representation of one utilized as a part of the colossal meal lobby in her
guardian's bequest, Crookhey Hall. Carrington purposefully upsets the typical request of
maternity and religion as her very own announcement subversive move towards individual

4. flexibility in France.
This portrait is called “Portrait of Max Ernst”, by
Carrington was finished as a tribute to her
association with the Surrealist craftsman Max Ernst.
In the closer view, Ernst is indicated wrapped in an
unusual red shroud and yellow striped tights holding
a murky, elongated light. A white steed, an image
Carrington much of the time incorporated into her
works of art as her creature surrogate, is indicated
balanced and solidified out of sight, watching Ernst. The two are distant from everyone else in
a solidified and devastate no man's land, a scene typical of the sentiments Carrington
experienced while living with Ernst in involved France.
In many
Carrington’s art works,
women are presented as
witches. In this painting
which the name is La Dame
Ovale, artwork in 1939, the
witch is wrapped by sheet and
there are some animals inside
the cauldron on the witch’s left side. It tries to state how historically witches were punished
until they confessed their crimes. Meanwhile, it satirizes the inequality between male and

5. female in old days. On the right side of witch, there are two horses tied to a tree, it indicates
that female are always restricted in traditional culture. Carrington was the ideal Surrealist artist
and she also crossed the boundaries of painter, sculptor, set designer, weaver, writer and mother,
and in addition she had experienced being in a mental asylum. She put a lot of her experience
in life into her artworks.
Carrington has also shown
interest in the topics of change
and transformation. This artistic
creation, The Giantess (The
Guardian of the Egg) in 1947,
demonstrates a fantastic girl in a
red dress and a light green cape
towering over a timberland of trees. Two geese seem, by all accounts, to be rising up out of
underneath the figure's cape, and gently painted creature figures and shapes are depicted on the
Giantess' outfit. The Giantess ensures an egg, a general image of new life, caught in her grasp,
while geese hover clockwise around her and small figures and creatures chase and gather in
the closer view. The palette, scale, and facture of the canvas show Carrington's enthusiasm for
medieval and gothic symbolism: the substance of the Giantess looks like a Byzantine symbol,
painted straight and lit up with an overlaid circle that edges her appearance. The incorporation
of geese may mirror her enthusiasm for Irish society, in which this fledgling is an image of
relocation, travel, and homecoming. In a compositional procedure reminiscent of Hieronymus
Bosch, Carrington has incorporated a large group of abnormal assumes that seem, by all

6. accounts, to be coasting out of sight. While the marine hues show that the boats and pictures
are likely adrift, Carrington's hieratic strategy in this depiction consolidates the ocean and sky
incorporated into one picture, accentuating her enthusiasm for workmanship's ability to join
universes.
The hybrid
characters that
populate the overly
complex universe
of “Ulu's Pants”, an
artwork of 1952,
uncover Carrington's wistfulness for the Celtic mythology she learned as a kid, and also her
introduction to different social conventions amid her time in Mexico. The vexing gigantic
figures in the closer view are organized in a static column, as though acting in a play. An egg,
typical of ripeness and resurrection, is watched at the lower right by an interesting figure with
a red head. Carrington was profoundly worried with ceaseless recharging through self-
disclosure, a thought incarnated by shape-moving figures in the closer view and by the far off
animals hunting down a pathway through the labyrinth out of sight.
Later in her vocation, Carrington added
depictions of more seasoned ladies to her visual
vocabulary of rehashed settings and figures. The
“Bird Bath” in 1974, is an example of this. The
structure out of sight of Bird Bath reviews her

7. youth home, Crookhey Hall, which was brightened with elaborate winged animals themes. In
the frontal area, an elderly female figure dressed all in dark (as Carrington herself dressed, in
more seasoned age) showers red paint onto an astounded looking fowl. The utilization of a
substantial bowl of water and a spotless white material (held by the conceal collaborator)
reviews the Christian ceremony of submersion, and the white winged animal may imply the
typical pigeon of the Holy Spirit. Nonetheless, the function instituted by these characters
appears to be diverting and additionally serious. The lady in the scene has experienced her own
change, from young lady to hag, while holding her inventive force.
The Tate exhibition is the first
run through the 15ft (4.5) wall
painting, The Magical World of
the Mayas, has been in plain
view outside Mexico. It is
additionally the first occasion
when her work has been
appeared in England since 1991. According to the exhibition curator: “’The Magical World of
the Mayas’, her 1964 mural, explains Carrington’s heartily relation with Mexico.” Her every
single portray explain a specific portion of her life, but in this single picture, she has explained
her overall affiliation and her thoughts for Mexico.
Surrealism was an art movement that started in Paris in the early 1920s, and then
spread throughout the globe. A number of Surrealist artists moved to New York at the outbreak
of World War II because they were deemed a threat by the Nazis. The movement spanned a

8. variety of art forms, including visual art, literature, film and music and the Surrealists had an
interest in politics, psychology and sociology. Predominantly Surrealist artists were interested
in creating work that came from their unconscious mind, so they tried to lose themselves in
making the work and allow their subconscious take over. They were interested in bridging
dream worlds and reality, and to support their work they referenced a variety of sources
including, mythology, psychology, ‘madness’ and symbolism. Surrealism is that artists use
unreal images or paintings to express their mind in strange way. The beginning of surrealism
is also in beginning of 20th century and the word “surrealism” was created in 1917 by
Guikkaume Apollinaire when he used it in program notes for the ballet Parade. The surrealism
took some features of the anti-rationalism of Dada. In surrealist paintings, there are two styles:
hyperrealism and automatism. The hyperrealism is that the artists use color of either saturated
or monochromatic way to create the dreamlike scene in paintings. Compared to hyperrealism,
the automatism is that the artists use various techniques to produce unconscious thought,
including collage, doodling, frottage, decalcomania and graftage. Leonora Carrington is one of
this style of artist.
Realism art represents the truly life or objects without any artificiality and avoids
artistic. It began in 19th century and it believed in the philosophy of objective reality. Surrealism
can be translated to beyond world. The surrealists were bored with real world in normal
expression, so they decided to use strange way to express their minds, philosophies and
feelings. Meanwhile, the surrealist strongly believed in interpretations of dreams and exploring
the darkest corners of mind. The difference between realism and surrealism is that realism tried
to use the copy of reality to express the artist’s feeling, however, surrealism used unconscious

9. way to describe the world or feelings. Even though this two art are totally different in painting
style, somehow they are the same. For instance, both of them are trying to express reality and
concerns of daily life in different ways. Another similarity is that they both try to make an art
or model which is close to perception of human eye and idea. Surrealists use strange ways to
do that, realists do not.
Romanticism is formed in the end of 18th century and it was artistic, literary and
intellectual. Romanticism reflected the emphasis on emotion and individualism. Romanticism
is a reaction to The Age of Enlightenment which was a movement of philosophy and truth in
the early 18th century. Romanticism rejected rationality in life and science, religion, politics
and so on. It was the idea of "romanticizing" life and ideals and the aesthetics of this movement
focused on emotions, imaging and perfect painting. Artists did not want to break the natural
laws of The Age of Enlightenment. Surrealism is the revolution of romanticism and it is the
most striking and the most fascinating example of a romantic current in the 20th century.
Surrealism is very popular when it is a break from the usual standards and aesthesis of art.
Today, surrealism (Modern Surrealism) has diversified with installation art. The
influence of surrealism in commercial mass media has been gotten attention from everyone in
the world. Some surrealists create new style of surrealism. For instance, the Mass Surrealism
has been a global phenomenon in the contemporary art world. Many surrealists associate in
other areas, such as not only cartoons and comics, but also electric products. Also, surrealism
is used into fashion. From the 20 century art movement to today’s perception of reality. What
began as a fashion experiment with a contemporary-art movement has become a source of
inspiration for ready-to-wear and fast-fashion labels worldwide. Surrealists are trying to change

10. the common way of looking at the world. It is the revolution of the mind against the tradition
and ordinary. Some of modern day Surrealists and there work is explained below.
André Breton was a unique individual from the Dada bunch who went ahead to begin and
lead the Surrealist development in 1924. In New York, Breton and his partners curated
Surrealist presentations that presented thoughts of automatism and instinctive craftsmanship
making to the principal Abstract Expressionists. He worked in different imaginative media,
concentrating on collection and printmaking and in addition writing a few books. Breton
advanced courses in which content and picture could be joined through chance relationship to
make new, wonderful word-picture mixes. His thoughts regarding getting to the oblivious and
utilizing images for self-expression served as an essential calculated building obstruct for New
York specialists in the 1940s.
Breton was a noteworthy individual from the Dada bunch and the originator of Surrealism.
He was devoted to vanguard craftsmanship making and was known for his capacity to join
different craftsmen through printed matter and curatorial interests. Breton drafted the Surrealist
Manifesto in 1924, announcing Surrealism as "unadulterated psychic automatism," profoundly
influencing the technique and beginnings of future developments, for example, Abstract
Expressionism. One of Breton's basic convictions was in craftsmanship as a hostile to war
challenge, which he proposed amid the First World War. This idea re-picked up power amid
and after World War II, when the early Abstract Expressionist craftsmen were making attempts
to show their shock at the barbarities happening in Europe.
His most important art piece is “Exquisite Corpse” (1928). In this community oriented
montage, seven Surrealist specialists (Cadavre Exquis with André Breton, Max Morise,

11. Jeannette Ducrocq Tanguy, Pierre Naville, Benjamin Péret, Yves Tanguy, Jacques Prévert ) and
writers gathered a human structure by stacking discovered printed pictures of commonplace
protests: an umbrella is the abdominal area, a trunk is the middle, and settled pots are two
thighs, which one member reached out in pencil.
The nearness of the umbrella reviews an
expression the Surrealists embraced from the writer
Comte de Lautréamont (conceived Isidore Ducasse)
as a perfect portrayal of the rule of juxtaposition: "As
excellent as the chance experience of a sewing
machine and an umbrella on a working table."
Diego Rivera is mainly viewed as the most powerful Mexican craftsman of the twentieth
century, Diego Rivera was genuinely an overwhelming figure who spent noteworthy times of
his profession in Europe and the U.S., notwithstanding his local Mexico. Together with David
Alfaro Siqueiros and Jose Clemente Orozco, Rivera was among the main individuals and
originators of the Mexican Muralist development. Sending a style educated by dissimilar
sources, for example, European advanced bosses and Mexico's pre-Columbian legacy, and
executed in the system of Italian fresco painting, Rivera took care of significant topics suitable
to the size of his picked fine art: social imbalance; the relationship of nature, industry, and
innovation; and the history and destiny of Mexico. More than a large portion of a century after
his passing, Rivera is still among the most respected figures in Mexico, celebrated for both his
part in the nation's masterful renaissance and re-invigoration of the wall painting class and also
for his outsized persona.

12. Rivera made the artwork of wall paintings his essential strategy, welcoming the substantial
scale and open availability—the opposite he viewed as the elitist character of works of art in
exhibitions and galleries. Rivera utilized the dividers of colleges and other open structures all
through Mexico and the United States as his canvas, making an exceptional assemblage of
work that restored enthusiasm for the wall painting as a fine art and rehashed the idea of open
workmanship in the U.S. by making ready for the Federal Art Program of the 1930s. Mexican
society and history constituted the real topics and impact on Rivera's craft. Rivera, who
amassed a huge gathering of pre-Columbian ancient rarities, made all encompassing depictions
of Mexican history and everyday life, from its Mayan beginnings up to the Mexican Revolution
and post-Revolutionary present, in a style to a great extent obliged to pre-Columbian society.
A deep rooted Marxist who had a place with the Mexican Communist Party and had
essential binds to the Soviet Union, Rivera is a model of the socially dedicated craftsman. His
craft communicated his straightforward responsibility to left-wing political causes, delineating
such subjects as the Mexican lower class, American specialists, and progressive figures like
Emiliano Zapata and Lenin. Now and again, his straightforward, uncompromising liberal
governmental issues slammed into the desires of rich supporters and stimulated huge
contention that radiated inside and outside the craftsmanship world.
Diego Rivera's first
government-charged wall
painting, Creation was made
through the span of a year and
spreads over a thousand square

13. feet. It is a figurative structure with fanciful and religious motifs. The figures in the painting
are more than twelve feet high, which were in extent to the gigantic channel organ which
encompassed the divider. At the main an image, which could speak to the Divine Trinity with
gift hands. It additionally takes after old Egyptian iconography of Aton, the image of the
inventive sun. At the base Eva and Adam. Over them on both sides the nine Muses.
Furthermore, on the following level the Christian Virtues: From the left: Love, Hope and Faith
and on the right side: Prudence, Justice and Strength. In the sky Wisdom and Science.
Everything is in established renaissance style, where comparative moral stories are basic. The
figures depend on life models. Note that the photo does not have any political, ideological
inclination. The artistic creation procedure is encaustic, which implies that the colors were
connected suspended in liquid wax. A confused system which the old Egyptians definitely
knew.
Frida Kahlo's work was impacted by traumatic physical and mental occasions from her
youth and early adulthood, including an injuring mischance and the disloyalty of her better
half. Notwithstanding individual issues, Kahlo's regularly agonizing and reflective topic
likewise manages inquiries of national personality. Her blended family line - Mexican and
German - gave a rich wellspring of topic, especially amid the Second World War, when Kahlo
changed the spelling of her first name to one that was less Germanic. Her works are regularly
classified as Surrealist on account of her occasionally odd and exasperating topics, yet not at
all like the Surrealists, Kahlo was not inspired by topic got from dreams or the subliminal - her
specialty was quite often starkly self-portraying. In later life, she was compelled to depend on
painkillers that influenced the nature of her yield. She has now turned into a social symbol and

14. is particularly loved in her nation of origin for her emphasis on her Mexican personality, or
Mexican dad.
Utilizing her own tragedies - both physical and mental - consolidated with a practical
painting style, Kahlo delivered pictures that were candidly crude and outwardly aggravating.
Her aesthetic yield was ruled without anyone else's input pictures that regularly demonstrate
the craftsman enduring. Kahlo's enthusiasm for her own blended German-Mexican family line
in conjunction with the impact of her better half's solid patriotism in his own particular
craftsmanship implied that a number of Kahlo's works managed consolidated issues of national
character, her significant other's approaching nearness as a craftsman in his own privilege,
and/or her part as La Mexicana, the conventional Mexican lady and spouse. In spite of the fact
that not an official individual from Surrealism, Kahlo's odd symbolism alongside her direct
style was reminiscent of Surrealists, for example, Salvador Dalí with the distinction being that
Kahlo's topic was profoundly individual as opposed to funny or scholarly. She was not inspired
by programmed composing, bio morphism, dreams or the inner mind, all of which gave a center
to Surrealism.
This double-faced self-representation is
one of Kahlo's most perceived structures, and
is typical of the craftsman's agony amid her
separation from Rivera and the consequent
transitioning of her built character. On the
privilege, the craftsman is appeared in cutting
edge European clothing, wearing the

15. ensemble she wore before her marriage to Rivera. All through their marriage, given Rivera's
solid patriotism, Kahlo turned out to be progressively intrigued by indigenes and started to
investigate conventional Mexican ensemble, which she wears in the picture on the left. It is the
Mexican Kahlo that holds a memento with a picture of Rivera. The stormy sky out of sight,
and the craftsman's draining heart - an essential image of Catholicism furthermore typical of
Aztec custom penance - complement Kahlo's own tribulation and physical torment. Typical
components much of the time have different layers of significance in Kahlo's photos; the
intermittent subject of blood speaks to both magical and physical enduring, signaling
additionally to the craftsman's conflicted demeanor toward acknowledged ideas of womanhood
and richness.
Conclusion
Modern day Surrealism is a social and craftsmanship development that began in the 1920s.
It envelops all structures, for example, craftsmanship, figure, music, writing, film and
rationality. Surrealism is a sandbox of the human intuitive personality. Craftsmen and
journalists of the development trust Surrealism to be a progressive philosophical development
to begin with, utilizing visual works just as a relic.
After the World War I, specialists and intelligent people were searching for a break against
the brutality of reality. They needed to change the world their own specific manner, and Freud
has given them a solid impact; by taking advantage of the oblivious part of our cerebrum. In
1924, the Surrealist gathering was shaped; its foremost individuals being Max Ernst, Joan Miro
and Andre Masson.
Specialists were exceptionally intrigued with the intuitive; with dreams, mental trips and

16. dazes, as depicted in Sigmund Freud's works. The gathering, alongside Andre Breton, made
fine arts, verse and draws under entrancing and programmed composing. Regularly they deliver
strange, dream-like and oblivious works. In the expressions of Salvador Dali, Surrealism is
said to be the typical dialect of the intuitive; really an all-inclusive dialect, it doesn't rely on
education, society or insight.
Some Modern Day Surrealism Art Piece