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Surrealism was ostensibly directed at the emancipation of the human spirit, but it represented only male aspirations and fantasies until a number of women artists began to redefine its agenda in the later 1930s. This book addresses the former, using a "thick description" of the historically specific circumstances which required the male Surrealists to manufacture a sexual reputation of narcissism and misogyny.
These circumstances were determined by "hegemonic masculinity," an ideological construct which had little to do with individual masculinities. In male Surrealism, the "beribboned bomb" signified something both attractive and volatile, a specific instance of the Surrealist principle of convulsive beauty. In hegemonic masculinity, similar devices served as metaphors of the sexuality all men were supposed to possess. The intersection of these two axes produced an imagery of unrepentant violence.
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Subjects
Women in art, Surrealism, Modern Art, Surréalisme, Art moderne, Femmes dans l'art, ART, Subjects & Themes, Portraits, Human Figure, Surrealismus, Kunst, FrauTimes
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The beribboned bomb: the image of woman in male surrealist art
1995, University of Calgary Press
in English
1895176549 9781895176544
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Edition Notes
Includes bibliographical references: p. 275-298.
Includes index.
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The Physical Object
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- Created April 1, 2008
- 12 revisions
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