Surrealism

Surrealism is an art and cultural movement that developed in Europe in the aftermath of World War I in which artists aimed to allow the unconscious mind to express itself, often resulting in the depiction of illogical or dreamlike scenes and ideas. Its intention was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality. It produced works of painting, writing, photography, theatre, filmmaking, music, comedy and other media as well.

thumb|right|300px|Kurt Schwitters, Das Undbild, 1919, [[Staatsgalerie Stuttgart]] Collage (, from the , "to glue" or "to stick together") is a technique of art creation, primarily used in the visual arts, by which art results from an assembly of different forms, thus creating a new whole. Collage may refer to the technique as a whole, or more specifically to a two-dimensional work, assembled from flat pieces on a flat substrate, whereas assemblage typically refers to a three-dimensional equivalent.

theatrical genre

British poet and arts patron (1907–1984)

French occultist (1861-1929)

Nigerian photographer (1955–1989)

thumb|Biomorphic branching columns in Antoni Gaudí|Gaudí's monumental but still incomplete [[Sagrada Família church are modelled on trees.]]

film genre

Italian art historian (1924–2021)

Scottish National Gallery of Modern Art Two

images perceived as mysterious or disturbing

2008 film by Deepa Mehta

1938 art exhibition in Paris

Spanish writer (1916–1973)

music genre

cartoons airing over TV on Saturday morning

French social scientists

Postism (in Spanish Postismo) was a marginal literary and artistic movement whose name is a contraction of postsurrealismo ("post-surrealism"). As stated in the Second Manifesto, published in La Estafeta Literaria (special issue, 1946) and signed by Eduardo Chicharro Briones, Carlos Edmundo de Ory, and Silvano Sernesi.

1936 exhibition

Post-surrealism is a movement that arose in Southern California in 1934 when Helen Lundeberg and Lorser Feitelson wrote a manifesto explaining their desire to use art to convey the relationship between the perceptual and the conceptual.