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Surrealism, Occultism and Politics

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Surrealism, Occultism and Politics Surrealism, Occultism and Politics This volume examines the relationship between occultism and Surrealism, specif- ically exploring the reception and appropriation of occult thought, motifs, tropes and techniques by surrealist artists and writers in Europe and the Americas from the 1920s through the 1960s. Its central focus is the specific use of occultism as a site of political and social resistance, ideological contestation, subversion and revolution. Additional focus is placed on the ways occultism was implicated in surrealist dis- courses on identity, gender, sexuality, utopianism and radicalism. Dr. Tessel M. Bauduin is a Postdoctoral Research Associate and Lecturer at the Uni- versity of Amsterdam. Dr. Victoria Ferentinou is an Assistant Professor at the University of Ioannina. Dr. Daniel Zamani is an Assistant Curator at the Städel Museum, Frankfurt am Main. Cover image: Leonora Carrington, Are you really Syrious?, 1953. Oil on three-ply. Collection of Miguel S. Escobedo. © 2017 Estate of Leonora Carrington, c/o Pictoright Amsterdam 2017. This page intentionally left blank Surrealism, Occultism and Politics In Search of the Marvellous Edited by Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloguing-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-138-05433-2 (hbk) ISBN: 978-1-315-14665-2 (pbk) Typeset in Sabon by codeMantra Contents List of Illustrations vii List of Plates ix List of Contributors xi Introduction: In Search of the Marvellous 1 Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani PART I Alternative Modes of Knowledge 21 1 Spiritual Surrealists: Séances, Automatism, and the Creative Unconscious 23 Claudie MASSICOTTE 2 The Vertiginous Pursuit of the Grand Jeu: Experimental Metaphysics, Paramnesia, and Creative Involution 39 Donna ROBERTS 3 Palmistry as Portraiture: Dr. Charlotte Wolff and the Surrealists 57 M. E. WarlicK 4 Occulted Un-Knowing: Bataillean Approaches to the Sacred in Gellu Naum’s Ceasornicǎria Taus and Alejo Carpentier’s El Siglo de las Luces 73 Vivienne BroUGH-EvaNS PART II Myth, Magic and the Search for Re-Enchantment 93 5 Melusina Triumphant: Matriarchy and the Politics of Anti-Fascist Mythmaking in André Breton’s Arcane 17 (1945) 95 Daniel ZamaNI vi Contents 6 Esotericism and Surrealist Cinema: Wilhelm Freddie’s Films and the New Myth 118 Kristoffer NOHeden 7 Disenchanted Ground, or Antonin Artaud, Vincent van Gogh and Magic in 1947 132 Gavin ParKinson 8 Kurt Seligmann, Surrealism and the Occult 151 Gražina SUBELYTė PART III Female Artists, Gender and the Occult 171 9 The Quest for the Goddess: Matriarchy, Surrealism and Gender Politics in the Work of Ithell Colquhoun and Leonora Carrington 173 Victoria Ferentinou 10 “On the True Exercise of Witchcraft” in the Work of Remedios Varo 194 MarÍA JosÉ GONZÁleZ Madrid 11 Clear Dreaming: Maya Deren, Surrealism and Magic 210 JuditH Noble 12 Harbingers of the New Age: Surrealism, Women and the Occult in the United States 227 Susan AbeRTH Bibliography 245 Index 265 Illustrations I.1 Anon., “Beginning of Surrealist Field,” 1960. In Breton and Duchamp, eds., Surrealist Intrusion in the Enchanters’ Domain (New York: D’Arcy Galleries, 1960): 5 2 1.1 Hélène Smith, Martian alphabet, 1898. In Théodore Flournoy, Des Indes à la planète Mars (Genève: Eggiman, 1900): 215 25 2.1 Josef Šíma, Cover of Le Grand Jeu, 1928. Author’s own copy 41 2.2 Josef Šíma, Midi, 1928. Oil on canvas. Musée des beaux-arts de la ville de Reims. Photo: © C. Devleeschauwer 47 3.1 Dr. Lotte Wolff, “Les révélations psychiques de la main,” Minotaure 6 (Winter, 1935): 38 58 3.2 Dr. Lotte Wolff, “Les révélations psychiques de la main,” Minotaure 6 (Winter, 1935): 44 59 3.3 Man Ray, Dr. Charlotte Wolff, c. 1935. © Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2017. Photo: Charlotte Wolff, Hindsight (London: Quartet Books, 1980), between pp. 152–53 65 6.1 Wilhelm Freddie and Jørgen Roos, Eaten Horizons, 1949. Film still. 35 mm film 119 7.1 Vincent van Gogh, Gauguin’s Chair, 1888. Oil on canvas. Van Gogh Museum, Amsterdam. © Vincent van Gogh Foundation 133 7.2 François-Joachim Beer, “Sa folie?”, in: Arts, no. 104, 31 (January 1947): 8 138 7.3 Willy Maywald, Photograph of Victor Brauner’s altar taken on the occasion of the exhibition “Le Surréalisme en 1947, Exposition Internationale du Surréalisme” at the Galerie Maeght, Paris. Photo: © Galerie Maeght, Paris. © ADAGP, Paris and DACS, London 2016. © Association Willy Maywald/ADAGP, Paris and DACS, London 2017 139 7.4 Vincent van Gogh, Wheatfield with Crows, 1890. Oil on canvas. Van Gogh Museum, Amsterdam. © Vincent van Gogh Foundation 143 7.5 Antonin Artaud, Self-Portrait, 24 June 1947. Pencil and coloured chalk on paper. Private collection. © Centre Pompidou, MNAM- CCI, Dist. RMN-Grand Palais / Philippe Migeat. © ADAGP, Paris and DACS, London 2017 145 8.1 Kurt Seligmann, untitled etching accompanying André Breton’s poem “Pleine marge,” 1943. Published by Nierendorf Gallery, New York, 1943. © 2017 The Seligmann Center at the Orange County Citizens Foundation 159 viii Illustrations 8.2 Kurt Seligmann, Isis, 1944. Oil on canvas. Private Collection, courtesy Weinstein Gallery, San Francisco. © 2017 The Seligmann Center at the Orange County Citizens Foundation. Photo: Nicholas Pishvano 162 8.3 Bernard Hoffman, Photograph of a “Magic Evening” (“Soirée Seligmann”) in Kurt Seligmann’s New York studio, 1948. Gelatin silver print. Courtesy of the Seligmann Center at the Orange County Citizens Foundation 164 9.1 Ithell Colquhoun, Dance of the Nine Opals, 1942. Oil on canvas. Private collection. © Samaritans. © Noise Abatement Society & © Spire Healthcare 180 10.1 Francisco de Goya, The Spell, 1797–1798. Oil on canvas. Museo Lázaro Galdiano, Madrid 198 11.1 Maya Deren, Witch’s Cradle (unfinished), 1943. Film still. Film, b/w, 13 mins (approx.). © Anthology Film Archives, New York 212 12.1 Gertrude Abercrombie, Indecision, c. 1948. Oil on canvas. University Museum, Southern Illinois University, Carbondale 233 12.2 Gerrie Gutmann, Self-Portrait, 1940. Coloured pencil on paper. Collection of David and Jeanne Carlson 235 Plates I Hélène Smith, Martian Landscape, 1896–1899. Drawing. Bibliothèque de Genève. Ms. fr. 7843/3, plate 2 II Anon., Les Phrères simplistes, 1924. Fonds Roger Vailland. Médiathèque Elisabeth and Roger Vailland, Bourg-en-Bresse III Josef Šíma, Portrait of Roger Gilbert-Lecomte, 1929. Oil on canvas. Musée des beaux-arts de la ville de Reims. Photo: © C. Devleeschauwer IV Antonin Artaud, Paule aux ferrets, 24 May 1947. Lead graphite and coloured chalk on paper. Musée national d’art moderne, Centre Georges Pompidou, Paris. Photo: © Centre Pompidou, MNAM- CCI, Dist. RMN-Grand Palais / Philippe Migeat. © ADAGP, Paris and DACS, London 2017 V Kurt Seligmann, Vanity of the Ancestors, 1940–1943. Oil on panel. Private Collection, courtesy Weinstein Gallery, San Francisco. © 2017 The Seligmann Center at the Orange County Citizens Foundation. Photo: © Nicholas Pishvanov VI Kurt Seligmann, L’Alchimie de la peinture, 1955. Oil on canvas. Collection of Amy and Eric Huck. © 2017 The Seligmann Center at the Orange County Citizens Foundation. Photo: © Nicholas Pishvanov VII Ithell Colquhoun, Scylla, 1938. Oil on canvas. Tate Modern, London. © Samaritans, © Noise Abatement Society & © Spire Healthcare, 2017. Photo: © Tate, London 2017 VIII Leonora Carrington, Are You Really Syrious?, 1953. Oil on three- ply. Collection of Miguel S. Escobedo © 2017 Estate of Leonora Carrington / Artists Rights Society (ARS), New York IX Leonora Carrington, Sacrament at Minos, 1954. Oil on canvas. Private Collection. © 2017 Estate of Leonora Carrington / Artists Rights Society (ARS), New York X Remedios Varo, Creation of the Birds, 1957. Oil on masonite. Museo de Arte Moderno, Mexico City. © The Estate of Remedios Varo XI Remedios Varo, Harmony (Suggestive Self-Portrait), 1956. Oil on masonite. Private Collection. © The Estate of Remedios Varo XII Remedios Varo, Witch going to the Sabbath, 1957. Mixed media on paper. Private Collection. © The Estate of Remedios Varo x Plates XIII Sylvia Fein, The Lady Magician, 1954. Egg tempera on masonite. Chazen Museum of Art, University of Wisconsin-Madison, lent by the artist and William Scheuber (4.2005.11) XIV Gerrie Gutmann, The Theft, 1952. Casein on masonite. Los Angeles County Museum of Art, gift of David and Jeanne Carlson. © Los Angeles County Museum of Art, Collection David & Jeanne Carlson, Rancho Mirage, CA XV Juanita Guccione, The Race, c. 1951. Oil on canvas. © Weinstein Gallery, San Francisco XVI Marjorie Cameron, Untitled, n.d. Coloured pencil on paper. Marjorie Cameron Foundation, Los Angeles Contributors Susan Aberth is an Associate Professor of Art History at Bard College in Annandale- on-Hudson, New York. She writes on Surrealism, Latin American Art, women art- ists and occultism. She is the author of Leonora Carrington: Su rrealism, Alchemy and Art (Lund Humphries, London, 2004 in English and Spanish). Her recent pub- lications include: “An Allergy to Collaboration: The Early Formation of Leonora Carrington’s Artistic Vision,” in Jonathan P.
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