SURREALISM by the art story

(Movement 1924-1966)SynopsisThe Surrealist artists sought to channel the unconscious as a means to unlock the power of the imagination. Disdaining rationalism and literary realism, and powerfully influenced by psychoanalysis, the Surrealists believed the rational mind repressed the power of the imagination, weighting it down with taboos. Influenced also by Karl Marx, they hoped that the psyche had the power to reveal the contradictions in the everyday world and spur on revolution. Their emphasis on the power of personal imagination puts them in the tradition of Romanticism, but unlike their forbears, they believed that revelations could be found on the street and in everyday life. The Surrealist impulse to tap the unconscious mind, and their interests in myth and primitivism, went on to shape many later movements, and the style remains influential to this today.

Key Ideas

• André Breton defined Surrealism as “psychic automatism in its pure state, by which one proposes to express - verbally, by means of the written word, or in any other manner - the actual functioning of thought.” What Breton is proposing is that artists bypass reason and rationality by accessing their unconscious mind. In practice, these techniques became known as automatism or automatic writing, which allowed artists to forgo conscious thought and embrace chance when creating art.

• The work of Sigmund Freud was profoundly influential for Surrealists, particularly his book, The Interpretation of Dreams (1899). Freud legitimized the importance of dreams and the unconscious as valid revelations of human emotion and desires; his exposure of the complex and repressed inner worlds of sexuality, desire, and violence provided a theoretical basis for much of Surrealism.

Surrealist imagery is probably the most recognizable element of the movement, yet it is also the most elusive to categorize and define. Each artist relied on their own recurring motifs arisen through their dreams or/and unconscious mind. At its basic, the imagery

is outlandish, perplexing, and even uncanny, as it is meant to jolt the viewer out of their comforting assumptions. Nature, however, is the most frequent imagery: Max Ernst was obsessed with birds and had a bird alter ego, Salvador Dalí’s works often include ants or

eggs, and Joan Miró relied strongly on vague biomorphic imagery.

Beginnings

Surrealism grew out of the Dada movement, which was also in rebellion against middle-class complacency. Artistic influences, however, came from many different sources. The most immediate influence for several of the Surrealists was Giorgio de Chirico, their contemporary who, like them, used bizarre imagery with unsettling juxtapositions. They were also drawn to artists from the recent past who were interested in primitivism, the naive, or fantastical imagery, such as Gustave Moreau, Arnold Bocklin, Odilon Redon, and Henri Rousseau. Even artists from as far back as the Renaissance, such as Giuseppe Arcimboldo and Hieronymous Bosch, provided inspiration in so far as these artists were not overly concerned with aesthetic issues involving line and color, but instead felt compelled to create what Surrealists thought of as the "real."

The Surrealist movement began as a literary group strongly allied to Dada, emerging in the wake of the collapse of Dada in Paris, when André Breton's eagerness to bring purpose to Dada clashed with Tristan Tzara's anti-authoritarianism. Breton, who is occasionally described as the 'Pope' of Surrealism, officially founded the movement in 1924 when he wrote "The Surrealist Manifesto." However, the term "surrealism," was first coined in 1917 by Guillaume Apollinaire when he used it in program notes for the ballet Parade, written by Pablo Picasso, Leonide Massine, Jean Cocteau, and Erik Satie.

1930 - from the top left: Paul Eluard, Jean Arp, Yves Tanguy, Rene ClevelBottom Left: Tristan Tzara, Andre Breton, Salvador Dali, Max Ernst, Man RayAround the same time that Breton published his inaugural manifesto, the group began publishing the journal La Révolution surréaliste, which was largely focused on writing, but also included art reproductions by artists such as de Chirico, Ernst, André Masson, and Man Ray. Publication continued until 1929.

The Bureau for Surrealist Research or Centrale Surréaliste was also established in Paris in 1924. This was a loosely affiliated group of writers and artists who met and conducted interviews to "gather all the information possible related to forms that might express the unconscious activity of the mind." Headed by Breton, the Bureau created a dual archive: one that collected dream imagery and one that collected material related to social life. At least two people manned the office each day - one to greet visitors and the other to write down the observations and comments of the visitors that then became part of the archive. In January of 1925, the Bureau officially published its revolutionary intent that was signed by 27 people, including Breton, Ernst, and Masson.

Concepts and Styles

Surrealism shared much of the anti-rationalism of Dada, the movement out of which it grew. The original Parisian Surrealists used art as a reprieve from violent political situations and to address the unease they felt about the world’s uncertainties. By employing fantasy and dream imagery, artists generated creative works in a variety of media that exposed their inner minds in eccentric, symbolic ways, uncovering anxieties and treating them analytically through visual means.

Surrealist Paintings

There were two styles or methods that distinguished Surrealist painting. Artists such as Dalí, Tanguy, and Magritte painted in a hyper-realistic style in which objects were depicted in crisp detail and with the illusion of three-dimensionality, emphasizing their dream-like quality. The color in these works was often either saturated (Dalí) or monochromatic (Tanguy), both choices conveying a dream state.

Several Surrealists also relied heavily on automatism or automatic writing as a way to tap into the unconscious mind. Artists such as Miró and Ernst used various techniques to create unlikely and often outlandish imagery including collage, doodling, frottage, decalcomania, and grattage. Artists such as Arp also created collages as stand-alone works.

Hyperrealism and automatism were not mutually exclusive. Miro, for example, often used both methods in one work. In either case, however the subject matter was arrived at or depicted, it was always bizarre - meant to disturb and baffle.

Surrealist Objects and Sculptures

Breton felt that the object had been in state of crisis since the early nineteenth century and thought this impasse could be overcome if the object in all its strangeness could be seen as if for the first time. The strategy was not to make Surreal objects for the sake of shocking the middle class a la Dada but to make objects “surreal” by what he called dépayesment or estrangement. The goal was the displacement of the object, removing it from its expected context, “defamilarizing” it. Once the object was removed from its normal circumstances, it could be seen without the mask of its cultural context. These incongruous combinations of objects were also thought to reveal the fraught sexual and psychological forces hidden beneath the surface of reality.

A limited number of Surrealists are known for their three-dimensional work. Arp, who began as part of the Dada movement, was known for his biomorphic objects. Oppenheim’s pieces were bizarre combinations that removed familiar objects from their everyday context, while Giacometti’s were more traditional sculptural forms, many of which were human-insect hybrid figures. Dalí, less known for his 3D work, did produce some interesting installations, particularly, Rainy Taxi (1938), which was an automobile with mannequins and a series of pipes that created “rain” in the car’s interior.

Surrealist Photography

Photography, because of the ease with which it allowed artists to produce uncanny imagery, occupied a central role in Surrealism. Artists such as Man Ray and Maurice Tabard used the medium to explore automatic writing, using techniques such as double exposure, combination printing, montage, and solarization, the latter of which eschewed the camera altogether. Other photographers used rotation or distortion to render bizarre images.

The Surrealists also appreciated the prosaic photograph removed from its mundane context and seen through the lens of Surrealist sensibility. Vernacular snapshots, police photographs, movie stills, and documentary photographs all were published in Surrealist journals like La Révolution surréaliste and Minotaure, totally disconnected from their original purposes. The Surrealists, for example, were enthusiastic about Eugene Atget’s photographs of Paris. Published in 1926 in La Révolution surréaliste at the prompting of his neighbor, Man Ray, Atget’s imagery of a quickly vanishing Paris was understood as impulsive visions. Atget’s photographs of empty streets and shop windows recalled the Surrealist’s own vision of Paris as a “dream capital.”

Surrealist film

Surrealism was the first artistic movement to experiment with cinema in part because it offered more opportunity than theatre to create the bizarre or the unreal. The first film characterized as Surrealist was the 1924 Entr’acte, a 22-minute, silent film, written by Rene Clair and Francis Picabia, and directed by Clair. But, the most famous Surrealist filmmaker was of course Luis Bunuel. Working with Dalí, Bunuel made the classic films Un Chien Andalou (1929) and L’Age d’Or (1930), both of which were characterized by narrative disjunction and their peculiar, sometimes disturbing imagery. In the 1930s Joseph Cornell produced surrealist films in the United States, such as Rose Hobart (1936). Salvador Dalí designed a dream sequence for Alfred Hitchcock’s Spellbound (1945).

Rise & Decline of Surrealism

Though Surrealism originated in France, strains of it can be identified in art throughout the world. Particularly in the 1930s and 1940s, many artists were swept into its orbit as increasing political upheaval and a second global war encouraged fears that human civilization was in a state of crisis and collapse. The emigration of many Surrealists to the Americas during WWII spread their ideas further. Following the war, however, the group’s ideas were challenged by the rise of Existentialism, which, while also celebrating individualism, was more rationally based than Surrealism. In the arts, the Abstract Expressionists incorporated Surrealist ideas and usurped their dominance by pioneering new techniques for representing the unconscious. Breton became increasingly interested in revolutionary political activism as the movement’s primary goal. The result was the dispersal of the original movement into smaller factions of artists. The Bretonians, such as Roberto Matta, believed that art was inherently political. Others, like Yves Tanguy, Max Ernst, and Dorothea Tanning, remained in America to separate from Breton. Salvador Dalí, likewise, retreated to Spain, believing in the centrality of the individual in art.

Later Developments

Abstract Expressionism

In 1936, the Museum of Modern Art in New York staged an exhibition entitled Fantastic Art, Dada, Surrealism, and many American artists were powerfully impressed by it. Some, such as Jackson Pollock, began to experiment with automatism, and with imagery that seemed to derive from the unconscious - experiments which would later lead to his “drip” paintings. Robert Motherwell, similarly, is said to have been “stuck between the two worlds” of abstraction and automatism.

Largely because of political upheaval in Europe, New York rather than Paris became the emergent center of a new vanguard, one that favored tapping the unconscious through abstraction as opposed to the “hand-painted dreams” of Salvador Dalí. Peggy Guggenheim’s 1942 exhibition of Surrealist-influenced artists (Rothko, Gottlieb, Motherwell, Baziotes, Hoffman, Still, and Pollock) alongside European artists Miró, Klee, and Masson, underscores the speed with which Surrealist concepts spread through the New York art community.

Feminism and Women Surrealists

The Surrealists have often been depicted as a tightly knit group of men, and their art often envisioned women as wild "others" to the cultured, rational world. Work by feminist art historians has since corrected this impression, not only highlighting the number of women Surrealists who were active in the group, particularly in the 1930s, but also analyzing the gender stereotypes at work in much Surrealist art. Feminist art critics, such as Dawn Ades, Mary Ann Caws, and Whitney Chadwick, have devoted several books and exhibitions to this subject.

While most of the male Surrealists, especially Man Ray, Magritte, and Dalí, repeatedly focused on and/or distorted the female form and depicted women as muses, much in the way that male artists had for centuries, female Surrealists such as Claude Cahun, Unica Zurn, Lee Miller, Leonora Carrington, and Dorothea Tanning, sought to address the problematic adoption of Freudian psychoanalysis that often cast women as monstrous and lesser. Thus, many female Surrealists experimented with cross-dressing and depicted themselves as animals or mythic creatures

Famous Surrealism ArtHarlequin’s Carnival (1924) Artist: Joan Miró

Artwork description & Analysis: Miró created elaborate, fantastical spaces In his paintings that are an excellent example of Surrealism in their reliance on dream-like imagery and their use of biomorphism. Biomorphic shapes are those that resemble organic beings but that are hard to identify as any specific thing; the shapes seem to self-generate, morph, and dance on the canvas. While there is the suggestion of a believable three-dimensional space in Harlequin’s Carnival, the playful shapes are arranged with an all-over quality that is common to many of Miró’s works during his Surrealist period, and that would eventually lead him to further abstraction.

Miró was especially known for his use of automatic writing techniques in the creation of his works, particularly doodling or automatic drawing, which is how he began many of his canvases. He is best known for his works such as this that depict chaotic yet lighthearted interior scenes, taking his influence from Dutch seventeenth-century interiors such as those by Jan Steen.Oil on canvas - Albright-Knox Art Gallery

Battle of Fishes (1926) Artist: André Masson

Artwork description & Analysis: Masson was one of the most enthusiastic followers of Breton’s automatic writing, having begun his own independent experiments in the early 1920s. He would often produce art under exacting conditions, using drugs, going without sleep, or sustenance in order to relax conscious control of his art making so that he could access his unconscious. Masson, along with his neighbors Joan Miró, Antonin Artuad, and others would sometimes experiment together. He is famous for his use of sand. In an effort to introduce chance into his works, he would throw glue or gesso onto a canvas and then sand. His oil paintings were made based on the resulting shapes.

Battle of the Fishes perhaps references his experiences in WWI. He signed up to fight and after three years, was seriously injured, taking months to recover in an army hospital and spending time in a psychiatric facility. He was unable for many years to speak of the things he witnessed as a soldier, but his art consistently depicts massacres, bizarre confrontations, rape, and dismemberment. Masson himself observed that male figures in his art rarely escape unharmed. Battle of Fishes has subdued color, but the fish seem involved in a vicious battle to the death with their razor-like teeth and spilled blood. Masson believed that the use of chance in art would reveal the sadism of all creatures . Oil on canvas - Museum of Modern Art, New York

Mama, Papa is Wounded! (1927) Artist: Yves Tanguy

Artwork description & Analysis: The most pivotal moment for Tanguy in his decision to become a painter was his sighting of a canvas by Giorgio de Chirico in a shop window in 1923. The next year, Tanguy, the poet Jacques Prévert, and the actor and screenwriter Marcel Duhamel moved into a house that was to become a gathering place for the Surrealists, a movement he became interested in after reading the periodical La Révolution surréaliste.André Breton welcomed him into the group in 1925. Tanguy was inspired by the biomorphic forms of Jean Arp, Ernst, and Miró, quickly developing his own vocabulary of amoeba-like shapes that populate arid, mysterious settings, no doubt influenced by his youthful travels to Argentina, Brazil, and Tunisia. Despite his lack of formal training, Tanguy’s mature style emerged by 1927, characterized by deserted landscapes littered with fantastical rocklike objects painted with a precise illusionism. The works usually have an overcast sky with a view thatseems to stretch endlessly.

Mama, Papa is Woundedshows Tanguy’s most common subject matter of war. The work is painted in a hyperrealist style with his distinctive limited color palette, both of which create a sense of dream-like reality. Tanguy often found the titles of works while looking through psychiatric case histories for compelling statements by patients. Given that, it is difficult to know if this work is relevant to his own family history as he claimed to have imagined the painting in its entirety before he began it. His brother was killed in World War I and the bleakness of the landscape may refer generally to losses suffered in the war by thousands of French families. De Chirico’s influence on Tanguy’s work is obvious here in his use of falling shadows and a classical torso in the landscape.Oil on Canvas - Museum of Modern Art, New York

The Accommodations of Desire (1929)Artist: Salvador Dalí

Artwork description & Analysis: Painted in the summer of 1929 just after Dalí went to Paris for his first Surrealist exhibition, The Accommodations of Desire is a prime example of Dalí’s ability to render his vivid and bizarre dreams with seemingly journalistic accuracy. He developed the paranoid-critical method, which involved systematic irrational thought and self-induced paranoia as a way to access his unconscious. He referred to the resulting works as “hand-painted dream photographs” because of their realism coupled with their eerie dream quality. The narrative of this work stems from Dalí’s anxieties over his affair with Gala Eluard, wife of artist Paul Eluard. The lumpish white “pebbles” depict his insecurities about his future with Gala, circling around the concepts of terror and decay. While The Accommodations of Desire is an exposé of Dalí’s deepest fears, it combines his typical hyper-realistic painting style with more experimental collage techniques. The lion heads are glued onto the canvas, and are believed to have been cut from a children’s book.

Oil and cut-and-pasted printed paper on canvas - Metropolitan Museum of Art, New York

The Human Condition (1933) Artist: Rene Magritte

Artwork description & Analysis: Magritte’s works tend to be intellectual, often dealing with visual puns and the relation between a representation and the thing itself. In The Human Condition a canvas sits on an easel before a curtained window and reproduces exactly the scene outside the window that would be behind the canvas, thus the image on the easel in a sense becomes the scene, not just a reproduction of the landscape. There is in effect no difference between the two as both are fabrications of the artist. The hyperrealist painting style often used by Surrealists makes the odd setup seem dreamlike.Oil on canvas - Los Angeles County Museum of Art

Sigmund Freud

SynopsisSigmund Freud was born in Freiberg, which is now known as the Czech Republic, on May 6, 1856. Freud developed psychoanalysis, a method through which an analyst unpacks unconscious conflicts based on the free associations, dreams and fantasies of the patient. His theories on child sexuality, libido and the ego, among other topics, were some of the most influential academic concepts of the 20th century.

Early CareerHe was born in the Austrian town of Freiberg on May 6, 1856. When he was four years old, his family moved to Vienna, the town where he would live and work for most of the remainder of his life. He received his medical degree in 1881 and became engaged to marry the following year. His marriage produced six children—the youngest of whom, Anna, was to become a distinguished psychoanalyst herself. After graduation, Freud promptly set up a private practice and began treating various psychological disorders. Considering himself first and foremost a scientist, rather than a doctor, he endeavored to understand the journey of human knowledge and experience.

Early in his career, Freud became greatly influenced by the work of his friend and Viennese colleague, Josef Breuer, who had discovered that when he encouraged a hysterical patient to talk uninhibitedly about the earliest occurrences of the symptoms, the symptoms sometimes gradually abated. Inspired by Breuer, Freud posited that neuroses had their origins in deeply traumatic experiences that had occurred in the patient’s past. He believed that the original occurrences had been forgotten and hidden from consciousness. His treatment was to empower his patients to recall the experience and bring it to consciousness, and in doing so, confront it both intellectually and emotionally. He believed one could then discharge it and rid oneself of the neurotic symptoms. Freud and Breuer published their theories and findings in Studies in Hysteria (1895).

Freud’s many theories—including those about “psychic energy,” the Oedipus complex and the importance of dreams—were no doubt influenced by other scientific discoveries of his day. Charles Darwin’s understanding of humankind as a progressive element of the animal kingdom certainly informed Freud’s investigation of human behavior. Additionally, the formulation of a new principle by Helmholtz, stating that energy in any given physical system is always constant, informed Freud’s scientific inquiries into the human mind. Freud’s work has been both rapturously praised and hotly critiqued, but no one has influenced the science of psychology as intensely as Sigmund Freud.Freud fled Austria to escape the Nazis in 1938. He died in England on September 23, 1939 at age 83 by suicide, after requesting a lethal dose of morphine from his doctor, following a long and painful battle with oral cancer.

http://www.biography.com/people/sigmund-freud-9302400

PSYCHOANALYSIS

Psychoanalysis was founded by Sigmund Freud (1856-1939). Freud believed that people could be cured by making conscious their unconscious thoughts and motivations, thus gaining insight. The aim of psychoanalysis therapy is to release repressed emotions and experiences, i.e. make the unconscious conscious.Psychoanalysis is commonly used to treat depression and anxiety disorders.

Our Psyche According to Freud, resembles an iceberg, with the area of primitive drives, the id, lying hidden in the unconscious .The ego deals with conscious thoughts and regulates both id and the superego- our critical, judging voice.

The unconscious acts as a receptacle for ideas or memories that are too powerful, too painful, or otherwise too much for the conscious mind to process. Freud believed that when certain ideas or memories (and their associated emotions) threaten to overwhelm the psyche , they are split apart from the memory that can be accessed by the conscious mind, and stored in the unconscious instead.

SURREALISM IN ADVERTISING

JUXTAPOSITION what : a method that’s often used to depict surreal advertisingdefinition : the fact of two things being seen or placed close together with contrasting effect.ex: “the juxtaposition of these two images”

COMMON METHOD

JUXTAPOSITION IN PHOTOGRAPHY

As photographers, we are well aware of contrast. Contrast defines the variation between different levels of light in our exposure. Juxtaposition has a very similar effect except that instead of light, we are using physical objects or concepts to create a visual contrast in our scene.

To create a juxtaposition, we must have at least two objects or concepts in our scene. You can also have more.

If we use physical objects as a juxtaposition, they must each have a strong presence within the frame. Our eyes must be drawn to each of them individually to allow our brain to process the contrast between them.

When we use concepts or moods as a juxtaposition, we must make it clear what each of those concepts are. This is somewhat more difficult than using physical objects as the viewer needs not only to identify the concepts but also to process how they contrast together.

Perhaps a better way to demonstrate juxtaposition is visually rather than with words. So let’s take a look at some different types of Juxtaposition with photographs to demonstrate it.

September 13, 2016 by Jason Row

Juxtaposition Examples Using Scale

Scale is a classic use of juxtaposition. It is both physical and conceptual at the same time. In this shot below there are in fact several types of juxtapositions taking place.

The obvious of many juxtaposition examples is scale, and this is multi levelled. The one that jumps out is the scale of the ship compared to the iceberg. However, if you look deeper, there is a juxtaposition between the people on the ship and the ship, as well as the inflatable boat and the ship.

There is a conceptual juxtaposition between the man-made ship and the beauty of nature in the Antarctica. Lastly, there is a juxtaposition in color. This is the contrast between the deep blue of the ocean and the ship and the white of the iceberg.

Juxtaposition Examples Using Irony

Irony can be a juxtaposition too.

It is a conceptual contrast that we often shoot without noticing it, particularly when shooting street photography. The image below was consciously taken with the idea to create an ironic juxtaposition between the static go slow sign and the speeding traffic.

Although the cars were not necessarily speeding, by using a slow shutter speed I gave the impression of speed to contrast the very static sign.

Juxtaposition Examples Using Mood

Juxtaposition of mood is often used in landscape photography. A beautiful sweeping landscape can look great in a single mood, for example a tranquil sunrise.

However, if you add in a secondary mood such as an impending storm on the horizon, the juxtaposition between the two can bring that landscape alive.

When we look at such a picture we feel the optimism of a new day contrasted with what might happen if the storm arrives. It is a very powerful compositional tool for landscape photographers.

The optimism of a sunny day tempered by an impending storm. By Paulius Malinovskis

Juxtaposition Examples Using Age

Age is another classic use of juxtaposition.

It can be the contrast between a grandmother and her grandchild or in this case the contrast between the ancient and modern. The image below was taken in The City of London, a place teeming with juxtapositions.

In this case, the spire of the old church is completely isolated against the glass and steel of the Gherkin building. Other examples might be modern buses in front ancient monuments. Age-related juxtapositions are one of the most common varieties, they are all around us.

From Psychedelic Surrealism Catalogs to Artist Homage Advertorials

by : Jana PijakThese surrealist ad examples range from psychedelic fashion catalogs to artist homage editorials that play with the perception of their viewer.

Challenging one's perceptions of reality, these imaginative ads pay tribute to the art of greats like Salvador Dali and Rene Magritte. While the artists introduced something new and dynamic in their day, their iconic imagery lives on through these surrealist ad exam-ples.

Surrealist ad imagery is not only a staple for fashion brands but is also used to sell cars and men's shaving equipment. Both artistic and unexpected, these advertisements experi-ment with bold visuals and ensure that viewers are captivated.

Often whimsical, the campaigns prove that bright colors and bold graphics are a winning combinations when appealing to today's visually stimulated consumer.

SURREAL ADVERTISING IN FASHION & BEAUTY

Collages often have a surreal element to them as they juxtapose various elements into a single, cut-and-paste image; yet the T-Galleria 2014 ad campaign takes this art form to a whole new level. First of all, it is full of vibrant and bold colors. Secondly, the T-Galleria 2014 campaign incorporates exotic animals and last, but certainly not least, it stars model Karen Elson, who fiery red hair makes an even bigger statement.

Image maker Mat Maitland art directed the T-Galleria 2014 ad campaign, in which the British beauty exudes a cool attitude amidst such colorful chaos. The airport retailer showcases skincare, purses and perfumes in the T-Galleria 2014 ad campaign, common products to buy at such locations.

By: Meghan Young - Mar 14, 2014 References: matmaitland &

fashiongonerogue

Actress Rinko Kikuchi and top model Sean O’Pry star in the Kenzo Fall/Winter 2013/2014 advertorial. Known for

pushing visual boundaries in their marketing ads, the high fashion label stuns fans with a surrealist inspired

campaign that plays with one’s perception.

Whether displaying artificial eye collages and animal-infused accessory imagery or shining a light on the

brand’s visually vivid textile prints, the Kenzo Fall/Winter 2013/2014 ad campaign is the opposite of expected.

This surrealist image series is fearlessly styled and artfully conceived by photographer Pierpaolo Ferrari who works alongside art directors Maurizio Cattelan

and Micol Talso. Rinko and Sean pose in the luxe label’s patterned outerwear staples, ocular print statement tees and fierce jewelry accents that are donned with Kenzo’s

signature panther iconography

The Kenzo Fall/winter 2013/2014 Advertorial is Artfully Conceived

By: Jana Pijak - Jul 7, 2013

Claudia from Eskimo Model Management channels a contemporary mermaid in ‘La Vie Est Belle,’ a beauty shoot that highlights technicolored hair and makeup

looks. Creative direction for the image series is courtesy of makeup artist Dasha Kopecka while its photography

is the work of 2W Studio.

Posing in a set of surrealist portraits, model Claudia pulls off vibrant cosmetics and hair color applications.

Taking cues from hairstyles that have gained popularity on social media platforms like Instagram, this editorial

boasts reverse ombre styles that are accented with turquoise scalp details.

Moreover, ‘La Vie Est Belle’ also spotlights raver-inspired eyebrows in a hot pink hue along with blended

eyeshadow looks that mix pink, violet and turquoise elements together in an artful way.

The ‘La Vie Est Belle’ Beauty Story Highlights Technicolored Hair

By: Jana Pijak - Dec 5, 2015

SURREAL ADVERTISING IN TECHNOLOGY

Lifeproof, a smartphone and tablet case brand that promises to keep your gadgets safe no matter what

the hobby. Here we have their latest advetising campaign for their new Samsung Galaxy S5 case –

for this project they hooked in three of the industries top photographers/digital artists; Tim Tadder, David

Oldfield and Mike Campau. The outcomes are simply incredible.

The Creative Lifeproof Galaxy S5 Case Advertising Campaign

By: Tom White

SURREAL ADVERTISING IN SPORTS

The Rademar Campaign Sends a Positive Yet Gruesome Message

By: Meghan Young - Jul 9, 2013

The Rademar campaign might be more than a little disturbing, but the imagery gets its point across loud and clear. The models surreally pull back their skin to

reveal running shoes and other sportswear underneath. The print ads read, “Reveal your inner athlete.” Going

for a bit of shock value, the clever concept will surely capture people’s attention instantly.

Conceived and executed by Tabasco, an ad agency based in Tallinn, Estonia, the Rademar campaign was art directed by Kerstin Raidma with creative direction

by Indrek Viiderfeld, illustrations by Kerstin Raidma and photography by Kalle Veesaar. Focusing entirely on

the ripping of flesh, it really shows how much people are gravitating towards the gruesome, as evidenced by

the increasing number of zombie, vampire and other monster movies and shows.

SURREAL ADVERTISING IN FOODS

Here, instead of using normal teapots and teacups, they’ve replaced it with the actual various flavours of the tea. In my opinion, It looks professional ,

the hiearchy is there with first being the object,tite, then the description. It ‘s a

simple idea yet it works.

Tasty Teapots for Curtis

SURREAL ADVERTISING IN OTHER FIELDS

SURREAL ADVERTISING IN OTHER FIELDS

DEVELOPING THE IDEA

FAST MOVING CONSUMER GOODS LIST

IDIOMS

LIST OF POSSIBLE IDIOMS THAT CAN BE VISUALIZEDFOODS 1. apple of my eye : a person that is adored by someone2. bread and butter : necessities, the main thing3. butter someone up : be extra nice to someone (usually for selfish reasons)4. cheesy : silly5. cream of the crop : the best6. hard nut to crack : difficult to understand (often a person)7. hot potato : a controversial or difficult subject8. in a nutshell : simply, in summary9. piece of cake : very easy10. spice things up : make something more exciting11.go bananas : If someone becomes very emotional and starts behaving in a crazy way, they go bananas.12. tough cookie : A person who is a tough cookie is one who is self-confident and ambitious and will do what is necessary to get what they want.13. go nuts : To say that a person has gone nuts means that they have become completely foolish, eccentric or mad.14. easy as pie : If something is easy as pie, it is very easy to do.15.couch potato : If you refer to someone as a couch potato, you criticize them for spending a lot of time sitting and watching television.16. two peas in a pod : To say that two people are like two peas in a pod means that they are very similar in appearance.

OTHER IDEAS 1. Jam session 2.Baking soda3.Paper Jam4.eggs : you crack me up5.sweets : you’re such a sweetheart6.meat : nice to meat you7.lettuce : lettuce celebrate! 8.soy : i’m soy into you9.beet : you make my heart skip a beat10.pear : we make a great pear11.egg : have an eggcelent day12.chili : i’m a little chili13.udon : udon even know the struggle14. miso : you make MISO happy15.fish : so FISHticated16.jam : traffic JAM17.cashew : i’m gonna cashew ! neVER !18. : honey : HI HONEY IM HOME19.soft DRINK 20. SWEET TOOTH21. GO FISH22.legend DAIRY23.BITTER COFFEE : mad coffee24.TEA REX25.celebri TEA26.i love you THISSS MATCHA