Victoria Charles

Van Gogh is the incarnation of the suffering, a misunderstood martyr of modern art and the emblem of the artist as an outsider.

Van Gogh neither despised life nor was he its master.

I would not value life at all, if there were not something infinite, something deep, something real.”[

but we are still far from the time when people will understand the curious relation between one fragment of nature and another, which all the same explain each other and enhance each other.

“I should like to be with a woman for a change, I cannot live without love, without a woman. I would not value life at all, if there were not something infinite, something deep, something real.

organized a provocative exhibition, and Jean Cocteau

Elena Diakonova, whom he married in 1917. Elena entered the world of the Dadaists, and later, by which time she was known as Gala, “the muse of the Surrealists”.

Unable to resign himself to the death of Dada, Tristan Tzara tried in July 1923 to organize a performance at the Michel Théâtre in Paris entitled “Evening of the Bearded Heart”.

In this way, according to Aragon, by the end of 1922 “an epidemic of sleeping hit the Surrealists... Seven or eight of them came to live only for those instances of forgetfulness when, once the lights were out, they spoke unconsciously, like drowned people in the open air...”After that there arose a fashion for “speaking one’s dreams”, even though for this there was actually no need to sleep. This period in the history of Surrealism was later called “the era of rest”.

However, just at that moment, in the spring of 1922, an event took place heralding the birth of Surrealism from within the Dadaist movement. A new number of Littérature, a journal which had not come out for sometime, appeared on March 1, 1922. In it were published Breton’s “Three Tales of Dreams” and his article entitled “Interview with Professor Freud in Vienna”. In 1921, at the time of his visit to Vienna, Breton failed to get an interview with Freud, but both publications testified to the author’s interest in using psychoanalysis for the expression of the unconscious in art. From the fourth number of the journal onwards, Breton took the entire management of the journal on himself.