UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 I. André Masson, Portrait of André Breton, 1941. Ink on paper, 485 x 625 mm. Masson Collection, Paris, France. II. ‘Erutarettil’, Littérature 11-12 (1923): 24-5. Centre Pompidou, Musée nationale d’art moderne, Paris. III. Victor Brauner, Self-portrait with plucked eye, 1931. Oil on canvas,220 x 162 mm. Centre Pompidou, Musée national d’art moderne, Paris. © ADAGP, Paris, 2010. IV. Max Ernst, Men shall know nothing of this, 1923. Oil on canvas, 803 x 638mm. Tate, Tate Liverpool, © ADAGP, Paris and DACS,London 2002. V. Hélène Smith, Écriture martienne, 1897. Pen on paper, dimensions unknown. T. Flournoy, Des Indes à la Planète Mars, 1900. Public domain. VI. Hélène Smith, Paysage martien, s.d. Watercolours on paper, 229 x 174 mm. Gérard Lévy Collection, Paris. VII. Victor Brauner, Hélène Smith, 1941 (‘Siren of locks/knowledge’ from the Jeu de Marseille; final design). Black and coloured pencils and crayons on tracing paper, 274 x 181 mm. Owner unknown. VIII. Man Ray, Robert Desnos dans l’atelier d’André Breton (époque des sommeils), 1922. Gelatin silver print, 239 x 299 mm. The Museum of Modern Art, New York. Gift of James Thrall Soby. IX. Man Ray, Photographie de groupe à la Centrale surréaliste, 1924 Gela- tin silver print, 113 x 830 mm. Private Collection, Paris. X. Paul Nougé, The harvests of sleep, ca. 1929-30. From the serie Subver- sion des images, 1929-30. Gelatin silver print, modern print of the origi- nal negative, 200 x 200 mm. Archives et musée de la literature,Bruxelles. © SOFAM – Belgium, 2010. XI. Man Ray, Photomontage of Nadja’s eyes, s.d. Breton, Nadja (1964): 129.© ADAGP, Paris and DACS, London 2003. XII. Jacques-André Boiffard, Bois Charbons, 1927. Breton, Nadja (1964): 30. © ADAGP, Paris and DACS, London 2003. XIII. Les yeux fermés (Enquète sur l’amour), 1929. La Révolution Surréaliste 12 (1929): 73. Photomatons of the Surrealists, reproduction of an oil painting on canvas by René Magritte, 295 x 410 mm. Centre Pompidou, Musée national d’art moderne, Paris. XIV. La femme est l’être…, 1924. La Révolution Surréaliste 1 (1924): 17. Pho- tographs of various Surrealists and others, 293 x 40 mm. Centre Pompi- dou, Musée national d’art moderne, Paris. ix XV. René Magritte, Je ne vois pas la [femme] cachée dans le fôret (La femme cachée), 1929. Oil on canvas, 730 x 540 mm. Private collection. © AD- AGP, Paris, 2005. XVI. André Masson, Novalis, 1941 (‘ Magician of flames/love’ from the Jeu de Marseille; second design). Gouache, indian ink and crayon on paper, 279 x 167 mm. Musée Cantini, Marseille. © ADAGP Paris, 2005. XVII. Photographer unknown, Installation view of the 1947 Surrealist exhi- bition, with David Hare, Anguished Man (1947) and Miro, Cascade of Superstitions(1947), 1947. Photograph, dimensions unknown. Owner unknown. XVIII. Victor Brauner, The Lovers, 1947. Oil on canvas, 920 x 730 mm. Cen- tre Pompidou, Musée nationale d’art moderne, Paris. © ADAGP Paris, 2011. 1. ‘Notre collaborateur Benjamin Péret injuriant un prêtre,’ s.d. Photogra- pher unknown. La Révolution Surréaliste 8 (1926): 13. 2. Henry de Malvost, Les incubes et les succubes, 1894-5. Jules Bois, Le Satanisme et la magie (1895): 285. 3. Hands of André Derain, André Breton, Aldous Huxley, Antoine de Saint- Exupéry, Paul Éluard and Marcel Duchamp, 1934-5. Illustrations to Wolff, L., ‘Les révélations psychiques de la main’, Minotaure 6 (1935): 38-44, spec. 42-44. 4. Jean Baptiste Belot, Position of the Signs of the Zodiac in the Hand, illustration from Oeuvres (1640). Reproduced in Grillot de Givry, Witch- craft (2009): 267, fig. 244. 5. André Corvo, Saturnian Line, illustration from L’Art de Chyromance (1545). Reproduced in Grillot de Givry, Witchcraft (2009): 268, fig. 245. 6. André Corvo, Double Mercurian Line, illustration from L’Art de Chyro- mance (1545). Reproduced in Grillot de Givry, Witchcraft (2009): 269, fig. 247. 7. Baquet mesmer, end of the 18th century. Wood, metal and glass, di- mensions unknown. Musée d’Histoire de Médecine et de la Pharmacie, Lyon, France. 8. Eugène Thiebault, Henri Robin et un spectre, 1863. Albumen paper print, 229 x 174 mm. Collection of Gérard Lévy, Paris. 9. Persons under influence of magnetism (with Mesmer tub), end of 18th century. Pijaudier-Cabot and Faucherau, L’Europe des esprits (2011): x 355. 10. André Brouillet, Une leçon clinique à la Salpêtrière, 1887. Oil on canvas, 300x 4250 mm. Université Descartes Paris, France. 11. Dr. Caligari feeding Césare, 1920. Filmstill, from Wiene, Das Kabinett des Dr. Caligari (1920). 12. Césare, 1920. Filmstill, from Wiene, Das Kabinett des Dr. Caligari (1920). 13. Caligari, 1920. Filmstill, from Wiene, Das Kabinett des Dr. Caligari (1920). 14. George du Maurier, Svengali hypnotising Trilby, 1894. Engraving, du Maurier, Trilby (1894): 395. 15. ‘Attitudes passionelles’ (Augustine), 1928. Aragon & Breton, ‘Le Cinquan tenair de l’hystérie, 1878-1928’, La Révolution Surréaliste 11 (1928): 20- 2. Photographs orginally from Bourneville & Regnard under de direction of Charcot, Iconographie Photographique, vol. II. 1877-1880. Centre Pompidou, Musée nationale d’art moderne, Paris. 16. Max Ernst, Oedipus Rex, 1922. Oil on canvas, 930 x 1020 mm. Private Collection. 17. Portrait of Mme Sacco, s.d. Artist and dimensions unknown. Breton, Na- dja (1964): 91. 18. La Révolution Surréaliste 1 (1924), cover. Photographs by Man Ray. 293 x 205 mm. Centre Pompidou, Musée d’art moderne, Paris. 19. Henri Mairet, Séance avec Eusapia Palladino chez Camille Flammarion, rue Cassini, 25 novembre 1898, 1898. Gelatin silver print, 222 x 283 mm.© Rue des Archives / The Granger Collection. 20. Man Ray, Je revois maintenant Robert Desnos…, ca. 1922-24. Breton, Nadja (1964): 34. © ADAGP, Paris and DACS, London 2003. 21. Victor Hugo, Aube, ca. 1853. Automatic or spiritualist drawing made by the hand of Victor Hugo, pencil on paper, dimensions unknown. Re- produced by André Breton in ‘Le Message Automatique, Minotaure 3-4 (1933): 55. 22. Max Morise, Man Ray, Yves Tanguy, and Joan Miró, Untitled, 1927 (‘Ca- davre exquis’). Pencil, india ink and crayon on paper, 360 x 230 mm. Private Collection. © ADAGP, Paris 2010. 23. Max Ernst, Oedipus, 1931; cover of Cahier d’art, Max Ernst special is- sue (1937), Paris. Pencil and watercolours on cardboard, dimensions un- known. Marzona Collection. 24. August Natterer (pseud. August Neter), Miracle Shepherd, ca. 1911-13. Pencil on paper, varnish, 244 x 195 mm. Prinzhorn Collection, Heidel- berg. 25. ‘Mme Fondrillon’, ‘mediumistic drawing obtained by Mme Fondrillon, xi medium draughtswoman, in her 79th year, Paris, March 1909’, 1925. La Révolution Surréaliste 4 (1925): 1. Dimensions unknown. Centre Pompidou,Musée nationale d’art moderne, Paris. 26. Nadja (Léona Delcourt), Self-portrait, 1927. Breton, Nadja (1964): 144. 27. Nadja (Léona Delcourt), The lover’s flower, 1927. Breton, Nadja (1964): 139. 28. Nadja (Léona Delcourt), The shield of Achilles, 1927. Breton, Nadja (1964): 147. 29. Page-spread from Breton, ‘The Automatic Message’, Minotaure 3-4 (1933): 64-65. Dimensions unknown. Centre Pomidou, Musée nationale d’art moderne, Paris. 30. Victorien Sardou, Mozart’s house on Jupiter, 1850-1857. Etching, 360 x 440 mm. The Israel Museum, Jeruzalem. 31. Ferdinand “the postman” Cheval, Prospectus pour le Palais Idéal, con- struit de 1879 à 1912, Hauterives (Drôme). Thévoz, L’Art Brut (1975): 35. 32. Man Ray and André Breton, Title to ‘Le Message Automatique’, 1933. Indian ink and gelatin silver prints pasted on paper, 113 x 435 mm. Col- lection of Loïc Malle, Paris. 33. Jacques-André Boiffard, Boulevard Magente, devant le Hôtel Sphinx, ca. 1928. Breton, Nadja (1964): 121. © ADAGP, Paris and DACS, Lon- don 2003. 34. Brassai, Le Tour St Jacques à nuit, 1932-33. Gelatin silver print, 290 x 220 mm. Centre Pompidou, Musée nationale d’art moderne, Paris. © ADAGP, Paris 2011. 35. Giorgio de Chirico, The child’s brain, 1914. Oil on canvas, 800 x 650 mm. Moderna Museet, Stockhom, © Giorgio de Chirico/BUS 2010. 36. Giorgio de Chirico, The enigma of the day, 1914. Oil on canvas, 185,5 x 139,7cm. MOMA/James Thrall Soby Bequest. © 2012 Artists Rights Society (ARS), New York / SIAE, Rome. 37. Man Ray, Eye, 1934. Cropped version of Larmes, ca. 1933. Gelatin silver print, 225 x 286 mm. Private Collection. © ADAGP, Paris, 2012. 38. Man Ray and Max Ernst, La femme visible, 1925. Pencil drawing upon gelatine silver print, 390 x 550 mm. Private Collection. 39. Man Ray, Object to be destroyed / Indestructible object, 1923, remake 1959. Metronome and pasted photograph, 222 x 20 x 110 mm.