No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade. / In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.

No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade. / In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.

"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006." / Master of Arts

"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006." / Master of Arts

Datortekniken har utvecklats vilket innebär att man kan göra mer högupplösta 3D-objekt (se ordlistan) som ser mer realistiska ut än sina föregångare vilket har skapat en trend där 3D-objekten ska vara realistiska. Vi vill bryta den realistiska trenden genom att ta inspiration från det konstnärliga fältet vilket ledde oss till att undersöka de metoder som surrealisterna kan ha använt. Surrealismen innebär att konstnären vill fånga sina inre visioner och drömbilder. Undersökningen sker med fokus på metoden kollage, utklippta bilder som sätts ihop till en bild, såsom bland annat Max Ernst utförde det. Vidare testas våra egna varianter av kollage och därefter diskuteras arbetsflödet i de olika varianterna. Resultatet visar hur kollage kan se ut när det har inslag av surrealism, samt hur kollage kan användas för att skapa 3D-objekt.

Scholarship on Dada and Surrealism has established that psychology was a major intellectual source for artists in both groups. However, a burgeoning amount of recent work in both the history of art and of science indicates that types of psychology other than psychoanalysis permeated the historical context of the avant-garde. In the late nineteenth and early twentieth century, physiological psychology, for example, was the dominant science of the body and mind, which grounded psychic phenomena in structures of conduction in the nervous system. Modern artists saw within this discourse a fascinating and new theory of experience. In my selective history of the avant-garde’s reception and response to physiological psychology, I will argue that artists worked within and partially according to the basic tenets of this discourse, but that they reshaped its superstructural projections away from formations and taxonomies of normalcy in consciousness and action. / text

This dissertation explores the presence and meaning of astronomical elements in the creative work of Surrealist artists and writers who were involved with the movement from the 1920s to the 1940s. Set against a backdrop of widespread popular interest in astronomy in France during these decades and those directly preceding them, Surrealists such as André Breton, Joan Miró, Max Ernst, Wolfgang Paalen, Oscar Domínguez, Matta, Remedios Varo, Leonora Carrington, and Kurt Seligmann all addressed cosmic themes in their artistic production. This dissertation identifies and analyzes their varied engagement with such themes, including their presence in the related areas of astrology and the Tarot. The heavens offered the Surrealists a rich terrain for invention—one that could be seen as scientific or occult, fanciful or factual, as well as ancient or up-to-date. In their quest to access previously unknown realms of reality, the Surrealists found in the little-explored and often strange territory of outer space a new realm for creative invention. As such, these artists and writers projected their surreal visions onto the universe in their continued search for the marvelous. / text