The document discusses the relationship between surrealism and photography, outlining how surrealist photographers used techniques like double exposure, solarization, and montage to create dreamlike and ambiguous images that blurred the boundaries between reality and imagination. It profiles many pioneering surrealist photographers like Man Ray, Lee Miller, Eugene Atget, and Hans Bellmer and explores the major themes their work explored, such as eroticism, madness, hysteria, and the marvelous.

1. "Photography and Surrealism"
Coffee Talk – Peter Tush
August 3, 2016

2. "Photography and Surrealism" Outline:
1. How does Horst relate to Surrealism?
2. Photography as a medium prior to Surrealism
3. Straight photography vs. pictoralism
4. Main themes of surreal photography
5. Surrealism and the documentary photograph
6. Nadja and Photography
7. Key techniques of surreal photography
8. Key surrealist photographers
9. Dali & Photography
10. Legacy

3. "Surrealism lies at the heart of the photographic enterprise: in the
very creation of a duplicate world, of a reality in the second degree,
narrower but more dramatic than the one perceived by natural
vision." — Susan Sontag, On Photography, 1979

4. 1. Horst and the
Influence of
Surrealism

5. Dinner suit and headdress by
Schiaparelli,
1947
Muriel Maxwell
American Vogue Cover, July 1,
1939

6. Horst P. Horst
Costume
design for
"The Dream of
Venus"
1939

7. Horst P. Horst
Hands, Hands…,
1941

8. Horst P. Horst
Electric Beauty
1939

9. 2. Photography and
Dalí

10. René Magritte: Edward James in front of "On the Threshold of Liberty,"
1937

11. Salvador Dalí
The
Phenomenon
of Ecstasy
In Minotaure,
no. 3/4, 1933

13. Salvador Dalí
"Communication: Visage
paranoïaque"
("Communication:
Paranoiac Face")
in
Le Surréalisme au service de
la révolution
No.3, 1931
For Dalí, the paranoiac
image is the result of the
delirium of interpretation

14. Raoul Ubac
Dali's Rainy Taxi
1938

15. Philippe Halsman: Dalí Atomicus, 1948

16. 3. Straight
Photography versus
Pictorialism

17. Straight Photography
Alfred Stieglitz: The Terminal 1893

18. Edward Weston
Pepper No. 30
1930

19. Edward Steichen
Gloria Swanson
1924

20. Edward Steichen
Vogue Cover
July, 1932

21. 4. Surrealism &
Photography:
Major Themes

22. André Breton: Manifesto of
Surrealism, 1924

23. Rogi Andre: Jacqueline Lamba in
aquarium, 1934

24. Central Themes (1924-1939):
Automatism (Man Ray’s solarizations; Nadja’s snapshots)
Eroticism, Gaze of desire
Fetishization
Gender-switching
Blasphemy & Scandalization
Subversion - destabilize
Madness
Hysteria
Paranoia
Crime
Paris - City as Metaphor
Hallucination
Metamorphosis
Marvelous (Paul Nouge – the enigma in the everyday)
Uncanny & Enigma (Bellmer’s dolls)

25. Major Theme:
Eroticism

26. Man Ray: The Primacy of Matter over Thought, 1929

27. Major Theme:
Madness

28. Germaine Berton surrounded by
the Surrealist Group
Cover of
La Revolution Surrealiste
No.1, December 1924
Breton was an anarchist who had
assassinated a French politician.
The Surrealists were sympathetic
to anyone who stepped outside the
law, particularly if they were
idealistic and female.

29. Papin Sisters Before, After
Le Surrealisme au Service de la Revolution, May 1933
After seven years exemplary service as domestics, they killed and
mutilated Madame Lancelin and her daughter when a blown fuse threw
the house into darkness. The sisters promptly confessed, but it was
revealed that they were locked in an incestuous lesbian relationship.

30. Major Theme:
Hysteria

31. Salvador Dalí
"Le Cinquantenaire de
l'hystérie, 1878-1928"
("The Fiftieth Anniversary of
Hysteria")
In La Revolution Surrealiste
No.11, 1929
For the surrealists, hysteria
was the greatest poetic
discovery of the 19th century,
reinforcing stereotype of
"woman as mad"

32. Major Theme:
the Marvelous

33. Man Ray
Fixed Explosive
in Andre Breton’s essay "La
beaute convulsive" ("Beauty
will be Convulsive") in
Minotaure, no. 5, 1934
Delirium is a state to be
striven for because it throws
into question what is
assumed to be "normal"
Paranoia

34. Major Theme:
Blasphemy

35. Man Ray
Monument à D. A. F. de Sade
in
Le Surréalisme au service de la
révolution
No.5, 1933
This blasphemous image was
aligned with the article on the
Papin sisters
Crime

36. Major Theme:
The Uncanny

37. Georgio
de Chirico
Enigma of Fatality
1914
De Chirico’s work brought
together the mannequin, the
interior and the street in a
particularly hallucinatory way;
it leads to estrangement as in
a dream narrative

38. The "Uncanny": époque des
mannequins,
époque des intérieurs

39. Cover of
La Revolution surrealiste
No.4, 1925
With a photo by Man Ray of a
mannequin

40. Eugène Atget
Boulevard de Strasbourg,
Corsets
Paris, 1912

41. Benjamin Peret
Automatons, illustrating
"Au paradis des
fantômes"
In Minotaure, no. 2/3,
1933

42. Major Theme:
Paris – City as
Metaphor

43. Eugène Atget
Rue du Figuier
1924

44. 5. Surrealism &
Documentary
Photography

45. Anthropological photographs,
ordinary snapshots, movie
stills, medical and police
photographs—all of these
appeared in Surrealist journals
like La Révolution
Surréaliste and Minotaure,
radically divorced from their
original purposes.

46. Photo from Survey Of
Love, featured in the last
issue of La Revolution
Surrealiste, No.12,
December 1929
Magritte’s
The Hidden Woman
("I do not see the
(woman) hidden in the
forest")

47. Man Ray
Chessboard
1930

48. Man Ray published in La Révolution surréaliste, number 7 (Jun. 15, 1926)

49. 6. Nadja &
Photography

50. Breton’s Nadja (1928), a
book about mysterious
Parisian chance
encounters with a
woman.
In Nadja, photos are used
not so much to illustrate
passages but rather to
accompany and support
Breton’s temporary
flashbacks.
City as Metaphor

51. Les cabarets du Ciel et de l'Enfer, en bas du 42 rue Fontaine
Breton’s Nadja is also about Paris, a City as Metaphor: exploring the
city’s commonplace and monuments, it reveals "the marvelous" in the
everyday.

52. Léona Delcourt (Nadja),
1920s.
Source: Jacques Rigaut
She never appears in the
novel.

53. Anonymous: A Woman’s glove as well
Photo used in André Breton’s Nadja, 1928

54. With the Exception of the
Rectangular Mask, which she can
say nothing about
A Symbolic Portrait
of Her and Me

55. Jacques-André Boiffard
No: not even the very
beautiful and very
useless Porte Saint-
Denis, 1928
The surrealists saw the
city as a primordial site,
a labyrinth; the dwelling
place of the modern
unconscious

56. Jacques-André Boiffard:
The Humanité bookstore
Jacques-André Boiffard:
The Boulevard Magenta outside
the Sphinx Hotel

57. Breton wanted a
"medical" style of
dispassionate
observation in the
images, as well as the
writing.
Photographer
Jacques-André
Boiffard, like Breton,
had been a medical
student.

58. Boiffard’s
photographs of sites
including the Saint-
Ouen flea market, the
Humanité bookstore
and the Sphinx Hotel
are famously
deadpan, depopulated
and far from
picturesque. They
are pictures of
mystery .

59. For Rosalind Krauss, the
photographs are 'banal':
'the presence of the
photographs
strikes one as extremely
eccentric — an
appendage to
the text that is as
mysterious in its
motivation as the
images themselves are
banal'."

60. But for Walter Benjamin,
"[In Nadja], photography
intervenes in a very
strange way. It makes the
streets, gates, squares of
the city into illustrations
of a trashy novel, draws
off the banal obviousness
of this ancient
architecture to inject it
with the most pristine
intensity toward the
events described…"

61. According to David Bates, there is so little information for the reader to
link the photos to the story that they open up a space between the story
and the pictures. The photos don’t describe character actions but show
places and things they inhabited.
Jacques-André Boiffard Picture caption reads:
"I shall take as my point departure the Hôtel des Grands Hommes . . ."

62. 7. Surrealism &
Photography:
Technical
Experiments

63. Techniques used to blur reality and dream:
• Deliberate ambiguity between reality and imagination
• Automatism (Man Ray’s Rayographs)
• Double exposure (Man ray’s doubled eyes)
• Combination printing
• Reversed tonality
• Montage
• Solarization (Man Ray photo of Jacqueline Goddard)
• Rayographs (Man Ray’s photograms)
• Cliché verre
• Rotation
• Distortion (Kertesz nudes)
• Close up to confuse scale (Brassai)
• Isolate (Kertesz – empty city)
Surrealism sought a psychic and social transformation of the individual through the
replacing of bourgeois conventions with new values of spiritual adventure, poetry,
and eroticism.
The Surreal in photography manifested itself through new content and techniques

64. Automatism - a method
of art making in which the
artist suppresses
conscious control over
the making process
Brassai
Sculptures involontaires’,
in Minotaure N°1, Paris
1933

65. Double Exposure - using
the negatives of two or
more photographic images
in conjunction with one
another to create a single
image
Man Ray
Marquise Casati
1922

66. Dora Maar, Untitled (hand and shell), 1934
Montage - making of composite picture by cutting and joining a
number of photographs

67. Man Ray
Solarisation
1930
Solarization - a partial
reversal of tone within a
print, most visible at the
edges of forms, caused by
momentary exposure to
light during the course of
normal darkroom
development

68. Brassai
Untitled
1950
Cliché Verre: method of either etching, painting or drawing on a
transparent surface, such as glass, thin paper or film and printing the
resulting image on a light sensitive paper in a photographic darkroom.

69. André Kertész
Distortion #168
1933
Distortion - renders
the image uncanny

70. 8. The Photographers
of Surrealism

71. The Photographers:
Max Ernst

72. Max Ernst
(April 2, 1891-
April 1, 1976)
Cologne Dadaist
and Surrealist
Founder

73. Max Ernst
The Chinese
Nightingale
1920

74. Max Ernst: Here all together are my seven sisters, often living on liquid
desires and perfectly resembling sleeping leaves,
from La Femme 100 têtes, 1929

75. The Photographers:
Man Ray

76. Man Ray
(1890-1976)
American visual artist,
Member of Alfred
Stieglitz's "291" gallery,
friend of Marcel Duchamp,
informal member of Dada
and Surrealism,
Dada film maker,
inventor of “rayographs”

77. Man Ray: The Enigma of Isidore Ducasse 1920

78. Man Ray
Rayograph
1922

79. Man Ray: Black And White 1926

80. Man Ray: Les Larmes (Glass Tears), 1932

81. Man Ray: Untitled, 1933

82. Man Ray
Erotique Voilée
Veiled Erotic
(Meret Oppenheim
at the Press)
1933
In Minotaure, 1934

83. The Photographers:
Lee Miller

84. Lee Miller
(1907-1977)
American photographer,
successful fashion
model in 1920s and she
became an
established fashion and
fine art photographer.
During the Second
World War, war
correspondent
for Vogue. Apprentice
and muse of Man Ray.

85. Lee Miller
Lee Miller
in Adolf Hitler's
bathtub, Munich
1945

86. The Photographers:
Eugène Atget

87. Eugène Atget
(1857-1927)
French photographer,
Man Ray’s neighbor,
the “Henri Rousseau”
of the camera,
Paris as empty
“dream capital”

88. Atget on the cover of
La Révolution Surréaliste,
June, 1926

89. Eugène Atget
Boulevard de Strasbourg,
Corsets
Paris, 1912

90. Eugène Atget
Window of a shop on the
avenue des Gobelins
1925

91. The Photographers:
Jacques-André
Boiffard

92. Jacques-André
Boiffard
(1902-1961)
French photographer,
a medical student,
Man Ray’s assistant
from 1924 to 1929,
photos in Nadja,
expelled from the
movement for taking
photographs of
Simone Breton,
closely associated
with Georges
Bataille’s Documents

93. Jacques-André Boiffard: The
Humanité bookstore. Photo used in
André Breton’s Nadja, 1928
Jacques-André Boiffard: The
Boulevard Magenta outside the
Sphinx Hotel. Photo used in André
Breton’s Nadja, 1928

94. Jacques-André Boiffard
In Georges Bataille: "Le gros orteil“
("The Big Toe") Documents, no. 6,
1929
Jacques-André Boiffard
In Documents, no. 6
1929

95. Jacques-André Boiffard
Renée Jacobi
1930

96. The Photographers:
Eli Lotar

97. Eli Lotar
(1905-1969)
French photographer
and
cinematographer,
closely associated
with Georges
Bataille’s Documents,
cinematographer on
Buñuel's Las Hurdes

98. Eli Lotar
Aux abattoirs
de la Villette
from Georges
Bataille’s
"Dictionnaire
critique" in
Documents, no. 6,
1929

99. Eli Lotar
Bouche
(Mouth)
from Georges Bataille’s
"Dictionnaire critique" in
Documents, no. 3, 1929
Bassesse (bassness), the
process of informe
(formlessness) when form is
undone

100. The Photographers:
Hans Bellmer

101. Hans Bellmer
(1902-1975)
German photographer,
est known for the life-
sized pubescent female
dolls
His photographs were
published in the
Surrealist journal
Minotaure, 5
December 1934

102. Hans Bellmer
La Poupée
(The Doll)
1936

103. "The body is like a sentence that
invites us to rearrange it."
- Hans Bellmer
Uncanny confusion between
animate and inanimate, achieved
through the fragmentation and
reconfiguring of objects.
Assemblage allows a new body to
be formed and choreographed to
represent desire.

104. The Photographers:
Paul Nougé

105. Paul Nougé
(1895-1967)
Belgian photographer
poet, founder and
theoretician of surrealism
in Belgium, sometimes
known as the "Belgian
Breton"

106. Paul Nougé
The Juggler
1929-1930

107. Paul Nougé: photographs from La Subversion des images,
1919-30

108. The Photographers:
Raoul Ubac

109. Raoul Ubac
(1910-1985)
French painter,
sculptor, photographer
and engraver

110. Raoul Ubac
Mannequin
1937
Photograph of
Masson’s mannequin

111. Raoul Ubac
Portrait Dans un Miroir
1938

112. Raoul Ubac
The Nebula
1939

113. Raoul Ubac: Le Combat des Penthesilees, 1939

114. The Photographers:
Claude Cahun

115. Claude Cahun
(Lucy Schwob)
(1894-1954)
French artist,
photographer and
writer, explorer of
gender roles, disciple
of Breton

116. Marcel Moore (Suzanne Malherbe) and Claude Cahun (Lucy Schwob).
Self-Portraits Reflected in a Mirror, c. 1920

117. Claude Cahun
Don't Kiss Me I Am in
Training
1927

118. Claude Cahun, What Do You Want from Me?, 1928

119. Claude Cahun
Untitled
1936-1939

120. The Photographers:
Dora Maar

121. Dora Maar
(1907-1997)
French and Croatian
descent photographer,
Picasso’s “weeping woman,”
Friend of Paul Eluard,
Maar and Picasso also
studied printing with
Man Ray

122. Dora Maar
Père Ubu
1936

123. Dora Maar
Le Simulateur
(The Simulator)
1936
Pompidou, Paris
http://designobserver.com/fea
ture/exposure-the-simulator-
by-dora-maar/38751/

124. The Photographers:
Brassaï

125. Brassaï
(1899-1984)
Hungarian-French
photographer, tutored by
his fellow Hungarian André
Kertész, Brassai
photographed many of his
artist friends, including
Salvador Dalí, Pablo
Picasso, Henri Matisse,
Alberto Giacometti, took
photographs for Harper's
Bazaar.

126. Brassaï
Photo of Hector
Guimard's metro
entrances in Paris for
Salvador Dali’s essay
"On the Terrifying and
Edible Beauty of the
Modern Style
Architecture"
In Minotaure, no. 3/4,
1933

127. Brassai:
Photo for Salvador Dalí’s
article "Sculptures
involontaires"
in Minotaure no. 1
Paris, 1933
Photographs of everyday
objects presented as
"Involuntary Sculptures,"
including a bus ticket, a
piece of bread, a
distorted bar of soap and
a rolled piece of paper
obtained from a person
described as "débile
mental."

128. Brassaï: Untitled, 1933

129. The Photographers:
André Kertész

130. André Kertész
(1894-1985)
Hungarian-born
photographer, seminal
figure of photojournalism.
Mentor to Brassaï.

131. André Kertész: In a
sculptor’s studio, 1925
André Kertész: Entry to the Galerie
de l’Horloge, Passage de l’Opera,
1925

132. Eroticism
Andre Kertesz: Distortion 38, 1933

133. André Kertész
Meudon, France
1928

134. 10. Legacy of
Surrealist
Photography

135. Legacy:
Duane Michals

136. Duane Michals (1932-Present)

137. Duane Michals: Magritte with Hat, 1965

138. Duane Michals
Dr. Heisenberg's Magic Mirror
1998

139. Duane Michals: Dr. Heisenberg's Magic Mirror, 1998

140. Legacy:
Francesca Woodman

141. Francesca Woodman
(1958-1981)

142. Francesca
Woodman
Space2,
Providence,
Rhode Island
1976

143. Francesca
Woodman
Space,
Providence,
Rhode Island
1975

144. Francesca
Woodman
Self Portrait
Talking to Vince
1980

145. Legacy:
Cindy Sherman

146. Cindy Sherman
Untitled #92
1985

147. Cindy Sherman
Untitled
1985

148. Cindy Sherman
Untitled #261
Mannequin
1992

149. Legacy:
Jerry Uelsmann

150. Jerry Uelsmann
Tree House
1982

151. Legacy:
Gregory Crewdson

152. Gregory Crewdson: Ophelia
(from the Beneath the Roses series), 2001

159. Marcel Duchamp
André Breton
1945

160. Flâneur from the French
noun flâneur, means
"stroller", "lounger",
"saunterer", or "loafer."
According to Baudelaire, the
flâneur is not only a critical
part of modernity but he
also a enjoys all the
pleasures of it.

161. In this painting, Edouard
Manet is shown in the pose
of a flâneur (see
Baudelaire's essay entitled
The Painter of Modern Life).
The portrait, by French artist
Henri Fantin-Latour, was
painted in 1867.

162. Baudelaire,
Benjamin,
Breton

163. Quaker Efficiency Expert: Frederick Winslow Taylor
"Down with dawdling" led to the demise of the flâneur

164. For Breton, the war on
the work ethic and the
value of the flâneur was a
strategy against a society
that "maximized"
efficiency and rationality

165. Walter Benjamin:
the arcades,
the lost corners
of the city,
the passé

166. Man Ray
Monument à D. A. F. de Sade
in
Le Surréalisme au service de la
révolution
No.5, 1933
This blasphemous image was
aligned with the article on the
Papin sisters

167. Man Ray
Fixed Explosive
in Andre Breton’s essay "La
beaute convulsive" ("Beauty
will be Convulsive") in
Minotaure, no. 5, 1934
Delirium is a state to be
striven for because it throws
into question what is
assumed to be "normal"

168. Round the Clock, 1987

169. Comme ils l’entendent (The way they see it; left) and Comme nous
l’entendons (The way we see it; right), photographs by E.L.T. Mesens
reproduced in Adieu a Marie, Brussels, Feb or Mar, 1927

170. Max Ernst: Vision Induced by the Nocturnal Aspect of the Porte St. Denis,
1927, Private Collection
Employs both frottage (rubbing) and grattage (scraping) to circumvent
the mediation of the conscious mind

171. Max Ernst: La Ville entière, (The Entire City), 1935-36,
Kunsthaus, Zurich

172. The photos Breton used
in Nadja seem
deliberately banal

173. Jeff Wall: Dead Troops Talk (A vision after an ambush of a Red Army
patrol, near Moqor, Afghanistan, winter 1986)

174. "Photography and Surrealism"
Outline:
1. How does Horst relate to Surrealism?
2. Photography as a medium prior to Surrealism
3. Straight photography vs. pictoralism
4. Main themes of surreal photography
5. Surrealism and the documentary photograph
6. Nadja and Photography
7. Key techniques of surreal photography
8. Key surrealist photographers
9. Dali & Photography
10. Legacy

175. Woodman studied
surrealist texts in Rome
at the Libreria Maldoror,
a bookshop-gallery that
specialized in work about
and by surrealists, and
which ultimately hosted
her first small show.
She made use of many
surrealist motifs,
including mirrors, gloves,
birds and bowls. Like
Magritte, she often
shrouded her subjects in
white sheets; like Man
Ray, she painted body
parts, especially hands.
And as Hans Bellmer did,
she bound her legs
tightly with tape, and
perhaps like Claude
Cahun she used mirrors
to emphasize ambiguous
sexuality.

176. Surreal Photographers Checklist:
Jean-Eugène-Auguste Atget
Hans Bellmer
Denise Bellon
Ilse Bing
Jacques-André Boiffard
Brassaï
Josef Breitenbach
André Breton
Claude Cahun
Georges Hugnet
Valentine Hugo
Louis-Jean-Baptiste Igout
Pierre Jahan
André Kertész
Germaine Krull
Jacques-Henri Lartigue
Eli Lotar
Dora Maar
René Magritte
Man Ray
Marcel Mariën
Willy Maywald
E. L. T. Mesens
Lee Miller
Paul Nougé
Jean Painlevé
Gaston Paris
Roger Parry
Roger Schall
Jindřich Štyrský
Raoul Ubac
Robert Valençay
Wols

177. Horst P. Horst
Salvador Dalí
1943

178. Horst P. Horst
Dalí Bacchanale
Costumes
1939

179. Horst P. Horst
Mainbocher Corset
1939

180. 2. Development of
Photography as a
Medium

181. Still life with plaster casts, made by Daguerre in
1837, the earliest reliably dated daguerreotype

182. Kodak and the Rise of Amateur Photography

183. Eastman Kodak Advertisement for
the Brownie Camera, c. 1900

184. Alfred Stieglitz
Winter – Fifth Avenue 1893
Alfred Stieglitz
The Steerage 1907

185. Paul Strand
Typewriter keys
1916
Paul Strand
Wall Street
1915

186. Edward Steichen
The Flatiron
1904

187. Edward Steichen
Self-Portrait with
Brush and Palette
1902

188. Edward Steichen
Black: Model Margaret
Horan in a black dress by
Jay-Thorpe
1935
(Vogue, November 1,
1935)

189. Edward Steichen
Anita Chace in Art Deco
Shawl Vogue US
1925

190. William H. Mumler
(1832–1884) was an
American spirit
photographer who
worked in New York and
Boston. His first spirit
photograph was a self-
portrait which developed
to apparently show his
deceased cousin.

191. William H. Mumler, 1872
"Spirit photograph" of
Mary Todd Lincoln with
her husband by William
H. Mumler. These pictures
were mostly double
exposures.

192. Andre Kertesz: Eiffel Tower Paris 1929

193. Germaine Berton surrounded by
the Surrealist Group
Cover of
La Revolution Surrealiste
No.1, December 1924
Breton was an anarchist who had
assassinated a French politician.
The Surrealists were sympathetic
to anyone who stepped outside the
law, particularly if they were
idealistic and female.

194. Man Ray
La Ville (The City)
1931
Overlay of
multiple exposures

195. Winifred Casson
Accident
1935
Double exposure -
the
superimposition of
two exposures to
create a single
image

196. Dora Maar
Untitled (hand and shell)
1934

197. "Fifty Years of
Hysteria"
article by
André Breton and
Louis Aragon
published in La
Révolution
surréaliste,
number II
1929

198. Benjamin Peret
Automatons,
illustrating "Au
paradis des
fantômes"
In Minotaure, no.
2/3, 1933

199. Max Ernst
The Hundred-headless
Woman Opens her August
Sleeve
from La Femme 100 têtes,
1929

200. Max Ernst
Cover for the
novel Une
Semaine De
Bonte
1934

201. Man Ray
Lee Miller
1930
from
Surrealism at
the Service of
the Revolution

202. Man Ray
Untitled
1933

203. Dora Maar
The Years Lie in
Wait for You
1936

204. Jacques-André Boiffard
Untitled
1930
Jacques-André Boiffard
Sous le masque Pierre Prévert
1930

205. Eli Lotar: Aux abattoirs de la Villette
from Georges Bataille’s "Dictionnaire critique" in Documents, no. 6,
1929

206. Claude Cahun
Self Portrait
1928

207. Claude Cahun
Self-Portrait
1928

208. Claude Cahun
Aveux Non Avenus. Paris:
Éditions du Carrefour
1930

209. Claude Cahun
Untitled
1936

210. Claude Cahun
Standing and Sitting in a
garden, Claude Cahun and
Marcel Moore
1939

211. Lee Miller
‘Floating head’
Portrait of Mary
Taylor
1933

212. Hans Bellmer
La Poupée
(The Doll)
1936/1938

213. Hans Bellmer
La Poupée
(The Doll)
1935

214. Raoul Ubac
Le triomphe de la
stérilité
(The triumph of sterility)
1937

215. Raoul Ubac: Burnout, 1939

216. Hans Bellmer
The Second Doll
1949

217. Lee Miller
Portrait of
Space, Egypt
1937

218. Lee Miller
SS Guard in
Canal
1945

219. André Kertész: Paris, 1928

220. André Kertész: A window
on the Quai Voltaire, 1928
André Kertész: Paris, 1929

221. André Kertész
Lost Cloud, New York
1937

222. Paul Nougé: photographs from La Subversion des images,
1919-30

223. Paul Nougé: photographs from La Subversion des
images, 1919-30

224. Brassaï: photo of rock crystals in Andre Breton’s essay "La
beaute convulsive" ("Beauty will be Convulsive") in Minotaure,
no. 5, 1934

225. The Photographers:
Jindřich Štyrský

226. Malíř Jindřich Štyrský
(1899–1942)
with Toyen
Manic photographer,
collector of dreams,
Sadean tourist
Prague Surrealist Group
founders

227. Jindřich Štyrský
Emile Comes to me in a
Dream
1933

228. Jindřich Štyrský
Emilie Comes to Me in a
Dream
1933

229. The Photographers:
Maurice Tabard

230. Maurice Tabard
(1897-1984)
American photographer
Leading photographers of
the Surrealist movement,
which he entered under the
influence of his friend,
American photographer
Man Ray

231. Maurice Tabard
Walking Tree
1929

232. Maurice Tabard: Room with Eye, 1930

233. Maurice Tabard:
Untitled, 1940
Maurice Tabard:
Study, 1929

234. Maurice Tabard
Untitled
1930-1935

235. Maurice Tabard, Fashion for
Balmain, Avedon's Studio, 1949

236. Francesca
Woodman
Polka Dots 01,
Providence,
Rhode Island
1976

237. Duane Michals
The Spirit Leaves The Body
1968

238. Duane Michals: The Spirit Leaves The Body, 1968

239. Cindy Sherman

240. Legacy:
Jeff Wall

241. Jeff Wall: The Giant, 1992