André Breton Quotes

In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind.. .Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life.

L'œil existe à l'état sauvage.

Let me come back again to the waking state. I have no choice but to consider it a phenomenon of interference. Not only does the mind display, in this state, a strange tendency to lose its bearings (as evidenced by the slips and mistakes the secrets of which are just beginning to be revealed to us), but, what is more, it does not appear that, when the mind is functioning normally, it really responds to anything but the suggestions which come to it from the depths of that dark night to which I commend it.

So strong is the belief in life, in what is most fragile in life — real life, I mean — that in the end this belief is lost. Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly affairs he has been involved in; he is unimpressed by his wealth or his poverty, in this respect he is still a new-born babe and, as for the approval of his conscience, I confess that he does very nicely without it. If he still retains a certain lucidity, all he can do is turn back toward his childhood which, however his guides and mentors may have botched it, still strikes him as somehow charming. There, the absence of any known restrictions allows him the perspective of several lives lived at once; this illusion becomes firmly rooted within him; now he is only interested in the fleeting, the extreme facility of everything.

In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense.

Oneiric values have definitely won out over the others, and I maintain that anyone who still refuses to see, for instance, a horse galloping on a tomato, must be an idiot. A tomato is also a child's balloon - Surrealism, again, having suppressed the word "like."

As we liked to do as children, extracting from the soft forest floor the light chestnut trees only a few centimeters high at the base of which the chestnut continues to shine to the sun its clods of soil from the past, the chestnut conserving all of its presence and witnessing with its presence the power of green hands, of shadow, of airy white or pink pyramids of dances.. ..and of future chestnuts which, under new dust, would be discovered by the marveled sight of other children. It is in this perspective that the work of Arp, more than any other, should be situated. He found the most vital in himself in the secrets of this germinating life where the most minimal detail is of the greatest importance, where, on the other hand, the distinction between the elements becomes meaningless, adopting a peculiar under the rock humor permanently.

Art today can only be revolutionary, that is, it must aspire at the complete and radical reconstruction of society, even if for no other reason than to emancipate intellectual creation from the chains which obstruct it and to allow all mankind to rise to the heights that only geniuses could reach in the past.

Under his [ Marc Chagall ] sole impulse metaphor made its triumphal entry into modern painting.

L'amour est toujours devant vous. Aimez.

La beauté sera CONVULSIVE ou ne sera pas.

Children set off each day without a worry in the world. Everything is near at hand; the worst material conditions are fine. The woods are white or black, one will never sleep.

I was asked to make a report on the Italian situation to this special committee of the 'gas cell', which made it clear to me that I was to stick to the statistical facts (steel production etc.) and above all not to get involved with ideology. I couldn't do it.

[T]his cancer of the mind which consists of thinking all too sadly that certain things 'are' while others, which well might be, 'are not'.

Those who might dispute our right to employ the term SURREALISM in the very special sense that we understand it are being extremely dishonest, for there can be no doubt that this word had no currency before we came along. Therefore, I am defining it once and for all: SURREALISM, Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner–the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.