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)

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.

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advance aesthetic art central color crisis development error essential french future group painting principal problem program reaction reciprocity should thinking today surrealism surrealist younger

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For what advantage is it, that the world enjoys profound peace, if thou art at war with thyself? This then is the peace we should keep. If we have it, nothing from without will be able to harm us. And to this end the public peace contributes no little: whence it is said, ‘That we may lead a quiet and peaceable life.' But if any one is disturbed when there is quiet, he is a miserable creature. Seest thou that He speaks of this peace which I call the third (inner, ed.) kind? Therefore when he has said, ‘that we may lead a quiet and peaceable life,' he does not stop there, but adds ‘in all godliness and honesty.' But we cannot live in godliness and honesty, unless that peace be established. For when curious reasonings disturb our faith, what peace is there? or when spirits of uncleanness, what peace is there?

John Chrysostom

My readers understand now something of the nature of a false position. I hope they will never know one experimentally. Should they unfortunately become entangled with one, they had better not flounder along in it till they are carried they know not whither, but adopt the practice of French and English statesmen, who, immediately on the happening of such a dilemma, submit to what they call a ministerial crisis, and quietly resign their official posts. An occasion of this kind has just transpired in France. ...They wisely chose the latter evil, and retired covered with glory for the great things they would have accomplished had the king only permitted them to carry forward their grand designs: thus the ministers preserve their credit the nation its peace.

Alexander Bryan Johnson

I've always been surprised at the degree of success of The Mirror and the Lamp and the range and duration of esteem for it. ... I had no reason to expect in 1953 that it would appeal to more than a specialized group interested in literary criticism. I think one of the reasons why it's been of interest to a broad spectrum of readers is because one of its emphases was on the role of metaphors in steering human thinking. It was a very early book to insist on the role of metaphors in cognition, as well as in imaginative literature - to claim that key metaphors help determine what and how we perceive and how we think about our perceptions. ... Natural Supernaturalism is quite well known and even used as a textbook, but it never seems to have attracted the acclaim of its predecessor.

M. H. Abrams

When I paint an abstract picture (the problem is very much the same in other cases), I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings – like that of a person who possesses a given set of tools, materials and abilities and has the urgent desire to build something useful which is not allowed to be a house or a chair or anything else that has a name; who therefore hacks away in the vague hope that by working in a proper, professional way he will ultimately turn out something proper and meaningful.

Gerhard Richter

De Chirico [Italian painter, later admired by the Surrealists as 'early Surrealist'] found himself in 1912 confronted with the problem of following one of the roads already opened or of opening a new road. He avoided Fauvism as well as Cubism and introduced what could be called 'metaphysical painting'. Instead of exploiting the coming medium of abstraction, he organized on his canvases the meeting of elements which could only meet in a 'metaphysical world'. These elements, painted in the minutest technique, were 'exposed' on a horizontal plane in orthodox perspective. This technique, in opposition to the Cubist or the purely abstract formula in full bloom at the moment, protected de Chirico's position and allowed him to lay down the foundation of what was to become Surrealism ten years later.

Marcel Duchamp