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This study traces the development of Surrealist theory of visual art and its reception, from the birth of Surrealism to its institutionalization in the mid-1930s. Situating Surrealist art theory in its theoretical and discursive contexts, Kim Grant demonstrates the complex interplay between Surrealism and the critical expectations of contemporaries. She examines the challenge to Surrealist art raised by the magazine Cahiers d'Art, which promoted a group of young painters dedicated to a liberated and poetic painting process that was in keeping with the formalist evolution of modern art. Grant also discusses the centrality of visual art in Surrealism as a material manifestation of poetry; the significance of poetry in French theories of modern art; and the difficulties faced by an avant-garde movement at a time when contemporary audiences expected revolutionary innovation.

Surrealism. --- Art, Modern --- Art criticism --- Ut pictura poesis (Aesthetics) --- Surréalisme --- Art --- Critique d'art --- Ut pictura poesis (Esthétique) --- History --- Histoire --- Ut pictura poesis (Esthetica) --- Ut pictura poesis (Esthétique) --- Art styles --- anno 1900-1999 --- Surrealism --- Aesthetics --- Art and literature --- Humanism in art --- Superrealism --- Surrealism in art --- Arts, Modern --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Ut pictura poesis (Aesthetics). --- Art [Modern ] --- 20th century --- France --- Art, Modern - 20th century --- Art criticism - France - History - 20th century

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