This is a list of the images in your three texts of artists on whom there have been oral reports since the midterm.  Some others have been included because they refer to surrealist objects or environments. You may use these images in your essays as you wish.  Further directions will be given below in the listing of questions.

From Fer, Batchelor, Wood:

Pl. 157  Oppenheim, Objet: déjeuner en fourrure (Object: Fur Breakfast),
               1936, fur-covered cup. saucer and spoon
Pl. 159  Maar, Objet: déjeuner en fourrure (Object: Fur Breakfast), 1936,
               photograph
Pl. 205  Hugo, object, Le Surréa;lisme au service de la Révolution,  no. 3,
               1931
Pl. 206  Dali, object, Le Surréalisme au service de la Révolution, no. 3, 1931
Pl. 207  Miró, Poetic Object, 1936, assemblage: stuffed parrot on a wooden perch, stuffed silk stocking with
                velvet garter and doll's paper shoe suspended in a hollow wood frame, bowler hat, hanging cork ball,
                celluloid fish and engraved map
Pl. 208  Miró, Objet avec grille (Object with Grill), 1931, oil on wood fixed to a wire mesh
Pl. 217   Ubac, Mannequin, 1937 (photograph of Masson's mannequin)
Pl. 220  Maar, Le Simulateur (The Simulator), 1936, photograph
Pl. 222  Carrington, Self-Portrait,: 'A l’auberge du Cheval d'Aube', 1936-37
Pl. 223  Oppenheim, Ma Gouvernante (My Nurse), 1936, white heels with paper ruffles, presented on an oval platter
Pl. 224  Kahlo, Self-Portrait dedicated to Leon Trotsky, 1927, oil on canvas
Pl. 225  Kahlo, Lo que el agua me ha dado (What the Water Yields Me),    1938, oil on canvas
Pl. 226  Kahlo, Mis Abuelos, mis padres y yo (árbol genealógico) (MyGrandparents, My Parents and I (Family
            Tree)) 1936, oil and tempera on metal panel
Pl. 227  Kahlo, Henry Ford Hospital,  1932, oil on metal
 

From Alexandrian:

Fig. 127 Delvaux,The Sabbath, 1962, oil on canvas
Fig. 130 Delvaux, The Echo, 1943, oil on canvas
Fig. 131 Ubac, Brûlage (Burning), 1939-40, photograph
Fig. 132 Ubac, Fossil,  1938, photograph
Fig. 133 Delvaux, The Iron Age, 1951, oil on canvas
Fig. 134 Delvaux, The Hands (The Dream), 1941, oil on canvas
Fig. 139 Penrose, Portrait of Valentine, 1937
Fig. 144 Cornell, Taglioni's jewel casket,  1940
Fig. 146 Cornell, Set for making soap bubbles, 1948
Fig. 148 Paalen, Leafy furniture cover,  1936
Fig. 149 Breton, Poem-object, 1935
Fig. 150 Breton, Symbolically functioning object, 1931
Figs. 153-4 Views of Exposition Internationale du Surréalisme, 1938, Paris
  NOTE: Fig. 153 contains Marcel Jean’s Horoscope, 1938
Fig. 155 Dalí, Rainy Taxi, 1938
Fig. 156 Masson, Girl in a black gag with a pansy mouth, 1938
Fig. 157 Seligmann, Ultra-furniture, 1938
Fig. 159 Sage, Tomorrow is never, 1955, oil on canvas
Fig. 160 Seligmann, Souvenir of America, 1943
Fig. 164 Hirshfield, Nude with cupids, 1944
Fig. 165 Tanning, Les Petites Annonces faites à Marie, 1951
Fig. 166 Lam, The Jungle, 1943, oil on canvas
Fig. 169 Hirshfield, The Lion,
Fig. 173 Lam, Jungle, 1944, oil on canvas
Fig. 186 Kiesler, Endless House, 1933-1960
Fig. 187 Kiesler, Grotto of Meditation, 1966
Fig. 189 Lam, Altar for 'La chevelure de Falmer', 1947
Fig. 192 Seligmann, Will o' the wisp, 1937
Fig. 214 Fini, The Secret Festival, 1964, oil on canvas
Figs. 225-6 Oppenheim, Cannibal Feast, 1959

From Waldberg:

Fig. 69  Fini, The End of the World, 1944, oil on canvas
Fig. 72  Hugo, Constellation, 1935, oil
Fig. 90  Penrose, The Invisible Isle, 1936, oil on canvas
Fig. 93  Paalen, Medusan Landscape, 1937, oil on canvas
Fig. 98  Lam, Idol, 1944, oil on canvas
Fig. 101 Tanning, Two Words, 1963, oil on canvas
Fig. 102 Tanning, Palaestra, 1947, oil on canvas
Fig. 111 Delvaux, In Praise of Melancholy, 1951, oil on canvas
Fig. 127 Breton, Object-Poem, 1937
Fig. 131 Paalen, On the Ladder of Desire, 1936
Fig. 138 Maar, 29 Rue d’Astorg, 1936, photomontage
Fig. 139 Ubac, Solarisation, 1937, photograph
 

There are no images on this list by Kertesz, Ford, Cahun or Varo.  For Varo, please see http://www.sirius.com/~lafren/leorem/varo.html.  For the others, if you can find good images on a site on the web and give me a correct url address, you may use it.
 
 

These questions are to be answered in the form of typed, 300-350 word responses.  You might think of them initially as answers to questions on your worksheets, but then you should revise them at least twice, so that you are sure that you have presented a clear thesis and that your essays are well organized. They will differ in scope from answers on your worksheets because you will need to consider a far broader range of material.  Every essay should include at least three words from your vocabulary lists.  Underline these words.

Do not use any images from the attached list more than once in answering the questions below.

1. Compare Alexandrian's view of Surrealism with Fer's.  What kinds of information does each author find important to emphasize?  What kinds of images does each author include?  What kinds of adjectives would you use to describe each author's approach?  Consider the following as possibilities: historical, anecdotal, theoretical, factual, descriptive, interpretive, etc.  Support your decisions with examples.  Which approach did you prefer?

Choose two from the following three questions:

2. This question focuses on the issue of women in Surrealism.  Define three specific problems faced by women artists working in the Surrealist movement.  Choose three images by three different women artists from the list above and explain clearly and specifically the ways in which those images deal with these problems (either by challenging them or accepting them).  Explain what you can of the life experience of the artists you choose if you see that it relates to the interpretation of the image.  Your essay will be organized more easily if you choose one image for each problem that you have defined.

3. This question has to do with Surrealist objects.  Choose three different kinds of objects from the list above.  Name the kind of object that it is.  Explain the way that it functions within the theories of Freud, Bataille, or Jung.  Be specific and as thorough as you can within the word limit of the essay.  Note the differences in the ways that the three objects function.

4. Consider the Surrealist techniques that we listed and discussed at the beginning of the semester.  At that time we were talking primarily about work from the 1920s.  Review the work that we have looked at since the midterm, which is mostly from the 1930s and 1940s.  Which Surrealist techniques seem to have remained the most favored (discuss two)?  Give examples from the list above.  How have younger artists, or those who came late to the movement, adopted and perhaps changed these techniques to suit their own content (refer to the artist’s life experience where it is pertinent to your answer)?  Discuss at least three artists.
 

The answers to these questions should be turned in with your Calder paper no later than 7:00 p.m., Tuesday, May 9.

Have a good summer!