Surrealist Art Styles: Figuration and Abstraction

I want to make the same experiment with my dream images as I did with the list of words, related to the dream images. I will cut out elements from the pictures and randomly put them together in new constellations, new scales, and positions.
In this case, I want to involve coding as a tool for randomness.
Before setting up the cuts and coding, I have to look the visual language in surrealistic paintings; composition, shapes, contrast, etc. Maybe I can gather inspiration to create the function of the code.

Two main directions within Surrealism:
One was dependent on figuration, on the precise reproduction of natural forms – generally detached, dislocated, juxtaposed, transposed, or mutated far from real-life situations.
The second style of Surrealism was abstract, based on imagery without specific reference to natural shapes, and was largely dependent on forms generated by the unconscious.

Figurative Surrealism
The figurative or representational style of Surrealism (Veristic) appears at its most successful in the work of Magritte, Dali, and Delvaux, and in the work of certain other artists who in their variety and achievement escape categorization in any one mode. Picasso was one, Ernst was another, and Arp yet another, and in the 1930s and 1940s Giacometti and Moore (1898-1986).

Abstract Surrealism
In brief, surrealist abstraction rejected geometric shapes in favor of the visual and emotional impact of organic forms of nature: either actual (Jean Arp, Andre Masson, Joan Miro) or imagined (Yves Tanguy, Robert Matta).
The non-representational direction of Surrealism was no less vigorous. The work of Jean Arp was more often non-figurative, but the major artists most consistently independent of natural phenomena were the Spaniard Joan Miro (1893-1983) and the Frenchman Andre Masson (1896-1987), who had studios side by side in Paris and who both joined Breton’s surrealist group at its launch in 1924. For a period, both artists experimented freely with “automatic” drawings, the visual counterpart of “automatic” writing, which aim was to allow the free association needed to create a spontaneous expression. Both artists found that geometric abstraction – was sterile and inadequate to their needs.


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