Surrealism and photography
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| Photography came to occupy a central role in Surrealist activity. In the works of [[Man Ray]] and [[Maurice Tabard]], the use of techniques as double exposure, montage, and solarization evoked the union of dream and reality. Hans Bellmer photographed his mechanical dolls and [[René Magritte]] used the camera to create photographic equivalents of his paintings. [[Dora Maar]] took a photo of a baby armadillo. | Photography came to occupy a central role in Surrealist activity. In the works of [[Man Ray]] and [[Maurice Tabard]], the use of techniques as double exposure, montage, and solarization evoked the union of dream and reality. Hans Bellmer photographed his mechanical dolls and [[René Magritte]] used the camera to create photographic equivalents of his paintings. [[Dora Maar]] took a photo of a baby armadillo. | ||
| - | [[Eugène Atget]]'s and [[George Melies]] were also favorites of the surrealists. | + | [[Eugène Atget]] and [[George Melies]] were also favorites of the surrealists. |
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| + | == See also == | ||
| *[[Begierde im Blick]] | *[[Begierde im Blick]] | ||
| *[[L'Amour fou : Photography and Surrealism]] | *[[L'Amour fou : Photography and Surrealism]] | ||
| {{GFDL}} | {{GFDL}} | ||
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Photography came to occupy a central role in Surrealist activity. In the works of Man Ray and Maurice Tabard, the use of techniques as double exposure, montage, and solarization evoked the union of dream and reality. Hans Bellmer photographed his mechanical dolls and René Magritte used the camera to create photographic equivalents of his paintings. Dora Maar took a photo of a baby armadillo.
Eugène Atget and George Melies were also favorites of the surrealists.
See also
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