# <div class="text-justify"> Esta tercera entrega sobre mi trabajo síntesis del Surrealismo (ver las anteriores en [I](https://peakd.com/hive-110011/@josemalavem/surrealismo-el-ultimo-grito-de-la-vanguardia-artistica-i ) y [II](https://peakd.com/hive-156768/@josemalavem/surrealismo-el-ultimo-grito-de-la-vanguardia-artistica-ii-or-surrealism-the-last-cry-of-the-artistic-avant-garde-ii)) lo dedicaré a hablar de aspectos que enriquecieron al movimiento y de otros que lo limitaron, hasta debilitarlo y hacerlo desaparecer como tal. En la última entrega (la IV) abordaré cuatro de sus principales representantes con, por lo menos, un texto de cada uno, que ilustren los aspectos generales indicados en la segunda entrega. ## <center><div class="phishy">============</div></center> _This third installment on my work synthesizing Surrealism (see the previous ones at [I](https://peakd.com/hive-110011/@josemalavem/surrealismo-el-ultimo-grito-de-la-vanguardia-artistica-i ) and [II](https://peakd.com/hive-156768/@josemalavem/surrealismo-el-ultimo-grito-de-la-vanguardia-artistica-ii-or-surrealism-the-last-cry-of-the-artistic-avant-garde-ii)) I will dedicate it to talk about aspects that enriched the movement and others that limited it, to the point of weakening it and making it disappear as such. In the last installment (IV) I will deal with four of its main representatives with at least one text from each, illustrating the general aspects indicated in the second installment._ <br> <center>![Persistencia de la memoria, de Dalí.jpg](https://files.peakd.com/file/peakd-hive/josemalavem/23zRviCErHp4vd3ZT9dHX9dGR2hdW7sBoYHEoR4d8mKJTcGueARhVBGBUh75JpaRYnZAb.jpg)</center><center><sub>”Persistencia de la memoria” | Persistence of memory (1931), de Salvador Dalí - [Fuente / Source](https://www.telesurtv.net/multimedia/Salvador-Dali-el-pintor-irreverente-y-surrealista-de-Espana-20160510-0029.html)</sub></center> <br> A diferencia de la espontaneidad y libertad dadaísta, se generó en el movimiento surrealista una disciplina de grupo, con pretensiones de pureza y fidelidad, como si existieran normas y pautas a seguir. Esta actitud fue animada y sostenida por André Breton, a quien se le llamó el “Papa negro” del surrealismo. Ese espíritu de intransigencia llevó a enjuiciamientos y “excomuniones”, al modo de una conducta partidista, contaminada con el estalinismo dominante. Pese a las exclusiones y retiros (entre ellos, Philippe Soupault, Robert Desnos, Antonin Artaud), se incorporaron dos importantes figuras, muy relevantes para el arte en adelante: el pintor Salvador Dalí y el cineasta Luis Buñuel. Dalí propondrá el método [“paranoico crítico”](https://www.ttamayo.com/2019/07/el-metodo-paranoico-critico-de-dali/), que quedará expresado en parte de sus pinturas de la época. Buñuel realizará dos filmes claves de la visión surrealista, como lo son *Un perro andaluz* (1929) y *La edad de oro* (1931), obras de discursos conformados por secuencias ilógicas, con imágenes visuales que buscan violentar los prejuicios del espectador. ## <center><div class="phishy">============</div></center> _Unlike Dadaist spontaneity and freedom, a group discipline was generated in the surrealist movement, with pretensions of purity and fidelity, as if there were rules and guidelines to follow. This attitude was encouraged and sustained by André Breton, who was called the "black pope" of surrealism. This spirit of intransigence led to prosecutions and "excommunications", in the manner of partisan behavior, inspired by the dominant Stalinism._ _Despite exclusions and withdrawals (among them, Philippe Soupault, Robert Desnos, Antonin Artaud), two important figures joined the group, very relevant for art from then on: the painter Salvador Dalí and the filmmaker Luis Buñuel. Dalí will propose the method of "paranoid criticism", which will be expressed in some of his paintings of the time. Buñuel made two key films of the surrealist vision, such as *Un perro andaluz* (1929) and *La edad de oro* (1931), works of discourse made up of illogical sequences, with visual images that seek to violate the viewer's prejudices._ <br> https://www.youtube.com/watch?v=79czRbhT9Sc <br> <div class="text-justify"> Había ocurrido una identificación de Breton y otros con la revolución social en boga, con la tentación comunista, lo que los llevó a cometer equívocos e incurrir en deformaciones. Situación que influyó en la crítica y cierto rechazo del movimiento, y finalmente a su decadencia. Avanzada la década del 30, Breton reconocerá ciertos equívocos, como podemos leer en las citas siguientes: >Somos muchos aún en el mundo los que pensamos que poner la poesía y el arte al servicio exclusivo de una idea, por ella misma, y por enfervorizadora que pueda ser, equivaldría a condenarlos en breve plazo a inmovilizarse; sería meterlos en una vía muerta. >Negamos que el arte de una época pueda consistir en la pura y simple imitación de sus aspectos externos; reprobamos como errónea la concepción del ‘realismo socialista’ que pretende imponer al artista, con exclusión de cualquier otra, la lucha emprendida por el proletariado para su liberación. ## <center><div class="phishy">============</div></center> _Breton and others had identified with the social revolution in vogue, with the communist temptation, which led them to make mistakes and incur in distortions. This situation influenced the criticism and certain rejection of the movement, and finally its decadence. In the late 30's, Breton will recognize certain mistakes, as we can read in the following quotes:_ >_There are still many of us in the world who think that to place poetry and art at the exclusive service of an idea, for its own sake, and however inspiring it may be, would be tantamount to condemning them to immobilization in the short term; it would be to put them on a dead end._ >_We deny that the art of an epoch can consist in the pure and simple imitation of its external aspects; we reprove as erroneous the conception of 'socialist realism' that pretends to impose on the artist, to the exclusion of any other, the struggle undertaken by the proletariat for its liberation._ <br> <center>![Pintura surrealista del siglo XXI.jpg](https://files.peakd.com/file/peakd-hive/josemalavem/EoCfj8QXVMxwYhFpJmsKqvBx8Hetmud5b28JWdZpeFBocNjobrufh7CTiQbzdFonbKp.jpg)</center><center><sub>Obra de Jeff Faust (1952)- [Fuente / Source](http://www.revistamachete.com.ar/los-nuevos-surrealistas-del-siglo-xxi/)</sub></center> <br> El Surrealismo finalizará como movimiento histórico con la Segunda Guerra Mundial, en 1939, aunque sus acciones y manifestaciones continuarán por varios años tanto en Europa como en América, pues, como dije en post pasado, es el movimiento estético-literario de vanguardia que ha tenido más influencia, e incluso persistido en muchos de sus aspectos más trascendentes (ver post anterior) a lo largo de nuestra contemporaneidad. Son identificables sus huellas en manifestaciones de nuestros días. En España incidió en poetas de la Generación del 27, como Rafael Alberti y Federico García Lorca. En Hispanoamérica, en los poetas argentinos Enrique Molina y Aldo Pellegrini; en los chilenos Braulio Arenas, Pablo Neruda y Rosamel del Valle; en poetas peruanos como César Moro y Emilio Westphalen; en poetas mexicanos como Xavier Villaurrutia y Octavio Paz; en Venezuela en poetas como Juan Sánchez Peláez, Hesnor Rivera y Francisco Pérez Perdomo. ## <center><div class="phishy">============</div></center> _Surrealism will end as a historical movement with the Second World War, in 1939, although its actions and manifestations will continue for several years both in Europe and America, because, as I said in a previous post, it is the avant-garde aesthetic-literary movement that has had more influence, and even persisted in many of its most transcendent aspects (see previous post) throughout our contemporaneity. Its traces are identifiable in manifestations of our days._ _In Spain it influenced poets of the Generation of '27, such as Rafael Alberti and Federico García Lorca. In Latin America, in the Argentine poets Enrique Molina and Aldo Pellegrini; in the Chileans Braulio Arenas, Pablo Neruda and Rosamel del Valle; in Peruvian poets like César Moro and Emilio Westphalen; in Mexican poets like Xavier Villaurrutia and Octavio Paz; in Venezuela in poets like Juan Sánchez Peláez, Hesnor Rivera and Francisco Pérez Perdomo._ ##### <center><div class="phishy">Continuará… | To be continued</div></center> <br> ###### Referencias | References: Pellegrini, Aldo (1981). *Antología de la Poesía Surrealista*. España: Edit. Argonauta. *Prisma. Antología poética de la vanguardia latinoamericana* (2003). México: Edit. Alfaguara. Raymond, Marcel (1983). *De Baudelaire al Surrealismo*. España - México: Fondo de Cultura Económica. Torre, Guillermo de (1974). *Historia de las Literaturas de Vanguardia* (Tomo 2). España: Edit. Labor. <br> <center>![Vector abstracto 1.jpg](https://files.peakd.com/file/peakd-hive/josemalavem/23tuxCVEzbXNqk7fZ6EgUVqn7phtzM7PRHiQWGFhE3Ea76LRz2uCrLUUmPNYSzLRm5tME.jpg)</center> <br> #### <center><div class="phishy">Gracias por su lectura | Thank you for reading.</div> </center> # <center>Translated with www.DeepL.com/Translator (free version)</center> <br> <center>https://i.imgur.com/Rp3y65p.png?</center> <center>https://i.imgur.com/DIquuk7.png</center> <center>https://i.ibb.co/nmMX30y/literatos-banner.gif</center> <center><sub>Gif diseñado por @equipodelta</sub></center> ![colmena (3).gif](https://files.peakd.com/file/peakd-hive/equipodelta/23uQG5bMpA2yUvU3w1TEuFvZjXBPfgBshBVfZZUN4RJ2XPWixaH1Ufw18aV1csBHocF2m.gif) <center>[Vote la-colmena for witness By @ylich](https://vote.hive.uno/@la-colmena)</center> </div>
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Es oportuno leer su post @josemalavem, porque me brinda la posibilidad de leer. Agradecido de contenido del Surrealismo y la influencia en los referentes poéticos más importantes de la humanidad.
author | hiramdo |
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Gracias por su visita y valoración, estimado @hiramdo
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Muy bueno tu trabajo. Surrealismo a pesar que existen nuevas tendencias contemporáneas todavía hay artistas que trabajan esta.
author | larryparra |
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Cierto (creo que lo señalé), pues el surrealismo terminó siendo una especie de síntesis de todos los movimientos de vanguardia artística, y anteriores, en el caso del romanticismo. Claro, sería un poco trasnochado decir que se sigue la línea surrealista, pero su influencia está presente en lo onírico, lo ilógico, etc. Gracias por tu visita, @larryparra.
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Gracias a ti. 😊
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https://twitter.com/1584249800207253506/status/1595266194377932801 <sub> The rewards earned on this comment will go directly to the people sharing the post on Twitter as long as they are registered with @poshtoken. Sign up at https://hiveposh.com.</sub>
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Estaré pendiente a lo que sigue. Cordiales saludos,
author | tierra-errante |
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¡Vale! Saludos, @tierra-errante.
author | josemalavem |
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