If memory serves correctly, it was the critic and artist Sidney Tillim who observed that the Surrealists couldn’t paint well because they were too preoccupied by bad dreams. The point is sardonic, but not off base. In privileging imagery or, to use parlance particular to the style, putrefaction over aesthetics, Surrealism erred on the side of illustration—on rendering, instead of embodying, “bad dreams.” Once an artist begins delineating visions gleaned from the...

 

A Message from the Editors

Since 1982, The New Criterion has nurtured and safeguarded our delicate cultural inheritance. Join our family of supporters and secure the future of civilization.

Popular Right Now