His Retrospective Bust of a Woman was one such object. Around the same time, he also published several essays naming and defining the so-called “Surrealist object”: an object “functioning symbolically,” 2 usually constructed from found items or readymade materials, and redolent with psychological power. Although Dalí’s association with Surrealism was late-coming and short-lived (he would be expelled from the group in 1934), his arrival jolted new life into the movement.ĭalí’s chief theoretical contribution to Surrealism was his elaboration, in the early 1930s, of the “paranoiac-critical method”-a process, he wrote, to “systematize confusion and thereby contribute to a total discrediting of the world of reality.” 1 The method described a deliberately disoriented state of mind that would allow an individual to connect unrelated things, forging fresh avenues of thought and creation. An artistic and intellectual movement begun by André Breton in 1924, Surrealism championed the unconscious as the primary motor of human behavior, coupling this with an aspiration to political revolution. The film catapulted Dalí to the center of the Surrealist community.
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Filmed in Paris, Un Chien Andalou strung together free-associative vignettes and made full use of the avant-garde technique of montage, including, most famously, a scene of a razor slicing into a woman’s eye. The auspicious occasion was the debut in Paris of Un Chien Andalou, a film Dalí made in collaboration with Luis Buñuel. The artist, author, critic, impresario, and provocateur Salvador Dalí burst onto the art scene in 1929 and rarely left the public eye until his death six decades later.
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