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Belgian surrealism

Surrealism manifested itself in the interwar period in French-speaking Belgium mainly through two
distinct groups, the Brussels group, around Paul Nougé and René Magritte, and the Hainaut group,
around Achille Chavée and Fernand Dumont. In the immediate post-war period two ephemeral
experiences took place: revolutionary surrealism, founded by the Belgian Christian Dotremont and the
French Noël Arnaud, and the Haute Nuit group, which attempted to relaunch surrealist activity in
Hainaut. Subsequently, the members of the former groups found themselves in various groupings or
collective publications, more or less close to the surrealist spirit: Cobra, La carte d'après nature,Naked
Lips, Phantomas,Mixed times, Daily-Bul,Edda,The Vocal, etc.1.

Relations with the Paris group

Belgian surrealism stands out compared to other countries where surrealist groups were created
(Czechoslovakia -Surrealist group, Romania, England, United States, etc.) by the often conflicting
relationships maintained with the Breton group. While elsewhere, any disagreement with the founding
group leads to abandoning any direct reference to surrealism (Paalen, for example), in Belgium,
criticism of the Parisian group will often be made in the very name of surrealism, such that some others
are considering it.

The content of these disagreements will vary over time, but certain consistencies are found from one group
to another: distrust regarding the inclusion of surrealism in literary history, doubt regarding of automatism
(Nougé) or on the contrary the return to pure automatism (Cobra).

To this is added an often political dimension, the commitment of the numerous Belgian surrealists,
particularly with the Communist Party of Belgium, being a source of friction and ruptures.

History of surrealism in Belgium

Early established in the country, surrealism never really left it, through a wealth of journals and
attempts at regrouping, often ephemeral. Unlike Paris or Prague, in Belgium there was no
continuous, long-term collective adventure, but a fragmentation and great variability of
expression. The conflicts of people, perspectives or opinions make approaching the history of
surrealism in this country all the more difficult since the traces left behind - often minimalist
journals, marginal works, etc. - have rarely retained the attention of art and literary historians,
which moreover would not have displeased most.
This results in the impossibility of drawing up an exhaustive and coherent portrait of surrealist activity
in Belgium, any more than it is possible to hope to set clear and objective limits to what, in this uneven
proliferation, relates or not surreal adventure. This is simply a matter of giving an overview, as detailed
as its subject.

The two centers of surrealism (1924-1940)

The Brussels group

The series of leaflets entitled Correspondance, by Paul Nougé, Marcel Lecomte and Camille Goemans,
whose publication began in November 1924, is generally considered to be the first manifestation of
surrealism in Belgium. However, it was in the years that followed that episodic collaborations began to
take place between Parisian and Brussels surrealists, while the group expanded, with the entry of
André Souris, ELT Mesens and René Magritte, then by Louis Scutenaire and Irène Hamoir.

Apart from the three issues of the magazineDistance, in 1928, the Brussels surrealist group did not publish
its own magazine. Their participation in surrealism is indicated by the signing of various leaflets from the
Paris group (The revolution first and always2, The Aragon Affair, Violette Nozière), through special issues of
magazines bringing together Belgian and French surrealists (Varieties: Surrealism in 1929;Documents 34(
Editor-in-chief: ELT Mesens):Surrealist intervention) and finally by their participation in the first surrealist
exhibition of international scope, the exhibitionMinotaurorganized at the Palais des Beaux-Arts in Brussels in
May and June 1934, by ELT Mesens, with the help of Breton and Éluard, under the patronage of Skira
editions. On the other hand, Camille Goemans moved to Paris in 1925, where René Magritte joined him from
1927 to 1930.

Despite these numerous collaborations, the group's membershipCorrespondenceto surrealism is not

without reservation. Before joining Nougé and Goemans, Magritte and Mesens had published a review,
Esophagus of Dadaist spirit and provocative towards the Parisian surrealists3. The Dadaist spirit never quite
left Brussels surrealism, and it is perhaps to him that we must attribute this “humor” specific to this variant of
surrealism, a humor of which people were somewhat wary André Breton4.

But it was above all Nougé, who gradually became the group's theoretician, who showed, at least at this
time, serious reluctance towards automatic writing, then placed at the center of surrealism by Breton, and
who is worried about the growing institutionalization of surrealism5.

The Brussels surrealists were also distinguished by their interest in music, an art disdained by the Paris group. This
interest is marked, among other things, by the presence of the composer André Souris. The latter was expelled in
1936 for having led an artists' mass. He nevertheless participated after the war in the journal Naked Lips6.

After the war, Nougé and Magritte refused to participate in the regrouping attempt made by Achille Chavée,
because of the presence of Christian Dotremont, whom they criticized for an article laudatory of Jean
Cocteau. Magritte, supported among others by Nougé, Joë Bousquet and Marcel Mariën who joined the
group in 1937, outlines his theory ofSurrealism in full sun, accentuating the divorce with the Parisian
surrealists.
The Brussels group will still be found, almost complete, in the reviewThe map from nature, directed by
Magritte. Magritte's gradual break with his former friends, Nougé and Mariën, put an end to the
existence of the group proper, although each of its members would continue to appear in various
publications.

Main animators

Pol Bury (1922-2005) painter and sculptor

Paul Colinet (1898-1957), writer Camille
Goemans (1900-1960), writer
Jane Graverol (1905-1984), painter and creator of collages
Irène Hamoir (1906-1994), writer
Marcel Lecomte (1900-1966), writer
René Magritte (1898-1967), painter
Marcel Mariën (1920-1993) writer, poet, essayist, editor, photographer, filmmaker, collages
and unusual objects.
ELT Mesens (1903-1971), writer and creator of collages Paul
Nougé (1895-1967), writer
Louis Scutenaire (1905-1987), writer
Max Servais (1904-1990)
André Souris (1899-1970), musician
Raoul Ubac (1910-1985), painter, engraver and sculptor
Suzanne Van Damme (1901-1986), painter

The Hainaut group

Founded by Achille Chavée, Albert Ludé, André Lorent and Marcel Parfondry, the Louviérois group Rupture
did not initially intend to intervene on an artistic and literary level. It was under the leadership of the Mons
poet Fernand Dumont that he moved more clearly towards surrealism. Dumont, a former classmate of
Chavée, discovered surrealist writings in 1931, met Éluard and Breton in September 1933 in Paris, and was in
contact with the people of Brussels through his friend Max Servais7.

On April 13, 1935, under the leadership of Dumont and ELT Mesens who came as guests, the group adhered to
surrealism8. He then collaborated with the Brussels group, co-signing theInternational Bulletin of Surrealismand
the exclusion of André Souris.

At the end of October, with the help of Mesens, the group organized an international exhibition of
surrealism in La Louvière which met with little response. Immediately the notebook appearsBad weather
1935, intended to be annual, and which André Breton very favorably welcomes9. But in 1936, Achille Chavée
left for Spain, joining the international brigades. His absence leaves the group to its dissensions, between
"politicians" and "poets", making it incapable of publishingBad weather 1936.

When Chavée returned, other dissensions, more clearly political, undermined the group: in Spain, he
sat alongside the communists in the revolutionary courts, and he was accused of having participated in
the execution of the non-Stalinist activists, anarchists and Trotskyists in particular. The tensions
between Trotskyists (Ludé, Lorent, Havrenne) and Stalinists (Chavée, Dumont, Simon10) caused the breakup
of the group when André Breton asked them to join the FIARI (International Federation of Independent
Revolutionary Art) which he had just founded with Léon Trotsky.

1erJuly 1939, Dumont and Chavée and with the help of Benjamin Pavard, joined by Armand Simon, Pol
Bury, Constant Malva, Marcel Lefrancq, Louis Van de Spiegele and Lucien André, founded theHainaut
Surrealist Group, provoking the negative reaction of ELT Mesens, a member of FIARI since 1938, and
who considers the quality ofsurrealistand the Stalinist commitment of Chavée. War occurs, which puts
an end to dissensions and activities in Hainaut11.

Main animators

Pol Bury (1922-2005), painter and sculptor

Achille Chavée (1906-1969), writer Fernand
Dumont, (1906-1945), writer Marcel
Havrenne (1912-1957), writer Marcel
Lefrancq (1916-1974), photographer André
Lorent (1901-1981)
Constant Malva (1903-1969) Armand
Simon (1906-1981), designer Louis Van
de Spiegele (1912-1971)

Position lights (1940-1945)

During the war, the activity of Belgian surrealists was divided between Paris, where several collaborated with the
group La Main à plume12and Brussels, where René Magritte and Raoul Ubac published the reviewCollective
Invention, which will only have two issues, in February and April 1940. This review will have as its main
collaborators ELT Mesens, Marcel Mariën, Louis Scutenaire, Irène Hamoir and the members of the surrealist group
in Hainaut13.

Under the occupation, two exhibitions, one by Raoul Ubac in May 1941, the other by René Magritte in 1944, both
prefaced by Paul Nougé14, are denounced by the collaborationist press, among others through the writings of
Marc Eemans, former short-lived member of the Brussels group from 1927 to 192915.

In Hainaut, after participation inCollective Invention, all activity is suspended: Achille Chavée, wanted
for his political activities, must go into hiding and Fernand Dumont, deported in 1942, will die in
captivity in 194516.

Short-lived revivals (1945-1950)

Revolutionary surrealism
The poet and painter Christian Dotremont discovered surrealism during the war and participated in the
French magazine La Main à plume. Back in Brussels, he founded the magazineThe two sisters, open to wide
participation. In the no3, he signs an articleRevolutionary surrealism17. After several meetings, in which
many members of the former groups from Hainaut and Brussels participated, the birth
of the new movement was recorded on May 17, 1947, and a manifesto, written by Dotrement and Jean Seeger,
incorporated the various remarks of the participants18. In June, the leafletNo quarters in the revolution! signifies
the definitive break with the Breton group.

Noël Arnaud, one of the hosts ofThe pen hand, having resumed contact with Dotremont, brought together
several artists, including Yves Battistini and Édouard Jaguer. The latter reads Dotremont's article. The
participants nevertheless avoid attacking Breton, but he believes that he and the surrealist-revolutionaries "
do not have the same conception of revolution, truth, righteousness and honor19.The break with Breton is
consummated by the leafletThe cause is heard, signed by the Belgian and French surrealist-revolutionaries.

If the importance given to political commitment is one of the causes of this rupture, the fact that, for all
surrealist-revolutionaries, this commitment means alignment with the theses of the French and Belgian
communist parties, constitutes the real point of no return.

The hope of reconciling surrealism and communist parties will be short-lived. The PCF, always attached
in art tosocialist realismsummons Noël Arnaud and Edouard Jaguer, summoning them to put an end to
their activities. They comply20. The end of surrealist-revolutionary activity in France did not immediately
signal the end of the movement, officially dissolved in 1950. But in reality, it gradually merged into a
new movement, founded by two surrealist-revolutionaries, Asger Jorn and Christian Dotremont: CoBrA.

Main animators in Belgium

Christian Dotremont (1922-1979), writer and creator of logograms

Achille Chavée (1906-1969), writer
Paul Bourgoignie (1915-1995), poet and designer

Cobra

Main animators in Belgium

Christian Dotremont (1922-1979), writer and creator of logograms Pierre

Alechinsky (1927), painter and engraver
Joseph Noiret (1927), Poet and critic

High Night and Diagram

Main animators

Achille Chavée (1906-1969), writer Marcel

Lefrancq (1916-1974), photographer
Armand Simon (1906-1981), designer Louis
Van de Spiegele (1912-1971)
 Remy van den Abeele (1918-2006), painter and sculptor

Extensions, ruptures and dispersion (1950 to the present)

Mixed times

Main animators

Jane Graverol (1905-1984), painter André

Blavier (1922-2001), poet and writer Robert
Willems (1926-2011), painter

Naked Lips

Main animators

Marcel Mariën (1920-1993), writer, editor and creator of collages and objects
Jane Graverol (1905-1984), painter
Paul Nougé (1895-1967), writer Roger Van de
Wouwer (1933-2005), painter André Souris
(1899-1970), musician

Phantomas

Main animators

Joseph Noiret (1927), poet and critic

Marcel Havrenne (1912-1957), writer
Marcel and Gabriel Piqueray, writers
François Jacqmin (1929-1992), poet
Pierre Puttemans (1933-2013) poet and architect
Théodore Koenig (1922-1996) poet

Daily-Bul

Main animators

Pol Bury (1922-2005), painter and sculptor

Marcel and Gabriel Piqueray, writers
 André Balthazar, poet

Edda

Main animators

Jacques Lacomblez (1934), painter, designer, poet

Marie Carlier, (1920-1986)
Jacques Zimmermann (1929), painter, decorator and designer
Jacques Matton (1939-1969), painter, designer and poet

The Vocal

Main animators

Tom Gutt (1941-2002), writer, creator of objects and publisher

Yves Bossut (1941), painter
Gilles Brenta (1943), painter Claudine Jamagne,
painter and illustrator Roger Van de Wouwer
(1933-2005), painter

Movie theater

Some surrealist films have made history in the history of Belgian cinema.

For example, in 1929, inspired by the poet Pierre Bourgeois, the filmmaker Charles Dekeukeleire
directed detective story, a surrealist-inspired collage-montage whose tangled story is shot with a
subjective camera21. The detective will use a camera as an investigative instrument. The camera
thus becomes the main character and its subjectivity, the essential subject.

The same year, Count Henri d'Ursel, born in Brussels, toured Paris, a bit like Louis Feuillade,The Pearl,
based on the screenplay by the poet Georges Hugnet, a story with multiple twists and turns not devoid
of eroticism.

A little later, Ernst Moerman, poet and friend of Éluard, also fascinated by Feuillade's episodic films,
offers a dreamlike and subversive vision of the formidable hero of Pierre Souvestre and Marcel Allain,
withMr. Fantômas, a silent medium-length film which premiered at the Palais des beaux-arts in Brussels
on October 12, 1937, when it was also screened thereAn Andalusian dog.

Marcel Mariën produced and directed the film in 1959Imitation of cinema, in which Tom Gutt participates, an erotic-Freudian
farce against the Church, which provokes scandal and the intervention of the public prosecutor's office in Belgium and will be
screened clandestinely in France22after being banned by the censors.
His follower Jan Bucquoy made the film Camping Cosmos in 1996 (with, among others, Jacques Calonne) which
gives an imaginary vision of Belgians during their vacations.

Filmography
1970:Introduction to Surrealism in Belgiumby Lucien Deroisy and Jean Dypréau
(Production of the Cinema Service of the Ministry of National Education, Brussels)

Artists often associated with surrealism

Rachel Baes (1912-1983), painter
Marcel Delmotte (1901-1984), painter
Paul Delvaux (1897-1994), painter
Marc Eemans (1907-1988), painter
Jane Graverol (1905-1984), painter

Notes and references

1. Xavier Canonne,Surrealism in Belgium, 1924-2000, Mercator Fund, 2007.
2. Nougé adds the sentence:It is important to see in our approach only the absolute trust
that we place in a certain feeling that is common to us, and specifically in the feeling of
revolt, on which the only valid things are based.Paul Nougé,Fragments, Éditions Labor-
Fernand Nathan, 1983, p. 251.
3. Cannon,op. cit., p. 21.
4.“This very particular kind of humor - at the same time I delight in it and I worry about it. [...] I worry
about it, because it tends to subordinate everything else and, therefore , reduces the chances of
poetry which are certainly also on the side of gravity. »Letter from André Breton to René Magritte,
in Canonne,op. cit., p. 196.
5.“I would really like those of us whose names are starting to stand out a little, to erase them.
They will gain a freedom from which we can hope for much. »Letter to André Breton, partially
cited by him in theSecond manifesto. André Breton, Complete Works I, Pléiade, NRF Gallimard,
1988, p. 821 and 1619.
6. Cannon,op. cit., p. 224.
7. Dumont will remain the Belgian surrealist closest to Breton, to the point of being the only one, all
groups combined, to embark on the exploration of objective chance dear to Breton, through his
workThe dialectic of Chance in the service of desire, written between 1938 and 1942, but only
published in 1979. (Surrealism in Mons and Brussels Friends, p. 54-55).
8. Cannon,op. cit., p. 32.
9.A magazine like “Mauvais Temps” really responds, in all areas, to my greatest desire.[…]
You must at all costs speak more often.(André Breton, letter to Fernand Dumont, cited in
Xavier Canonne,op. cit.p. 35).
10. The latter more out of friendship for Chavée than out of a real political choice. See
Surrealism in Mons and Brussels friends, catalog of the exhibition held at the Museum of
Fine Arts in Mons, 1986, p. 31.
11. Xavier CanonneSurrealism in Mons and Brussels friends, p. 21-37.
12. including Raoul Ubac and a newcomer, Christian Dotremont (see below), who settle
temporarily in Paris
13. Adam Biro and René Passeron (under the direction of)General dictionary of surrealism and its
surroundings, SA Book Office, Friborg (Switzerland), 1982, p. 218.
14. the 2eunder the pseudonym Paul Lecharentais.
15. Biro,op. cit., p. 139.
16.All is said. Games are made. Everyone is hastening towards their death. But me, I who am
perhaps only one of the position lights of the eternal ghost ship, how, above the
shipwrecks and the sad wrecks, how could I not try to make a sign to you, you whose
every image is a star, whose each poem is a brilliant victory of life?Fernand Dumont, last
message to Achille Chavée, January 6, 1941inCanon,op. cit., p. 44.
17. Canon,op. cit., p. 52.
18. Françoise Lalande,Christian Dotremont, The inventor of Cobra, Éditions Stock, 1998, p. 95.
19. Françoise Lalande,op. cit., p. 97.
20. Canon,op. cit., p. 54-56.
21.Cinema: one hundred years of cinema in Belgiumby Jean Brismée, Éditions Mardaga, 1995, page
51.
22. During the opening of the Phases exhibition dedicated to the Edda painters, Jacques
Lacomblez, Jacques Zimmermann and Marie Carlier, at Ranelagh, then, in the same place, at
the same time as Viridiana by Luis Buñuel, also banned.

Magazines and editions

1924 -Correspondence(Goemans, Magritte, Nougé, Lecomte), 26 leaflets, November 1924

- September 1925, Brussels; Facsimile collection, Didier Devillez publisher, Brussels,
1993.
1925 -Esophagus, (Magritte, Mesens), one issue, March 1925, Brussels; Facsimile collection,
Didier Devillez publisher, Brussels, 1993.
1926 -Married(Goemans, Mesens, Nougé), four issues, June 1926 - 1927, Brussels;
Facsimile collection, Didier Devillez publisher, Brussels, 1993.
1928 -Distances(Goemans, Lecomte, Magritte, Mesens, Nougé), three issues, February-
April 1928, Paris; Facsimile collection, Didier Devillez publisher, Brussels, 1994.
1929 -The Proper Sense(Goemans, Magritte), five leaflets, February-March 1929, Paris;
Facsimile collection, Didier Devillez publisher, Brussels, 1995.
1933 -Editions Nicolas Flamel(Feel)
1934 -Documents 34(Mesens), 1934-1935, Brussels; Facsimile collection, Didier
Devillez publisher, Brussels.
1935 -Bad weather(Chavée), a number, La Louvière; Facsimile collection, Didier
Devillez publisher, Brussels, 1993.
1940 -Collective Invention(Magritte, Ubac), two issues, February-April 1940,
Brussels; Facsimile collection, Didier Devillez publisher, Brussels, 1995.
1941 -The magnetic needle(Mariën), Antwerp. 1945
-Answer(Goemans), one number, Brussels.
1945 -The Earth is not a vale of tears(Mariën), a notebook, Brussels; Facsimile
collection, Didier Devillez publisher, Brussels, 1993.
1945 -The blue sky(Mariën, Colinet, Dotremont), nine issues, February-April 1945,
Brussels.
1945 -Public salvation(Dotremont and Jean Seeger), Brussels. 1946
-The Supercurrent(Dotremont), one number, Brussels.
1946 -Lazy morning(Dotremont and Jean Seeger), one number, Brussels. 1946 -
The Unfaithful Mirror(Mariën, Magritte), 1946 - 1947, Brussels.
 1946 -The two sisters(Dotremont), three issues, 1946-1947, Brussels. 1946 -
The Supercurrent(Dotremont), one number, Brussels.
1947 -Little Jesus(Noël Arnaud and Christian Dotremont), eleven issues between 1951 and
1963, Paris.
1948 -International Bulletin of Revolutionary Surrealism(Dotremont), one issue,
January 1948, Brussels.
1950 -The loaded leaf(Magritte and Mariën), one issue, March 1950, Brussels.
1952 -The Map from Nature(Magritte), ten issues and two special issues, 1952-1956,
Brussels.
1953 -Phantomas(Théodore Kœnig, Joseph Noiret and Marcel Havrenne), sixty-three
issues, 1953 - 1980, Brussels
1954 -Naked Lips(Mariën), twelve issues, 1954 - 1958 (first series); twelve issues, 1969
- 1975 (second series), Brussels.
1957 -Daily-Bûl(André Balthazar and Pol Bury), 14 issues, 1957-1983, La Louvière
1958 -Edda(Jacques Lacomblez), five issues, 1958 - 1964, Brussels
1960 -After God(Tom Gutt and Jean Wallenborn), 1960 - 1967, two issues in 1961 and
1962, Brussels
1961 -Rhetoric(Magritte and André Bosmans), 1961 - 1966, thirteen issues, Tilleur-lez-Liège.

1963 -Vendonah(Tom Gutt), 1963 - 1964, twenty-nine issues, Brussels.

1963 -Strata(Dotremont), 1963 - 1966, seven issues, Brussels. 1968 -The
accomplished fact(Mariën), 135 issues, 1968 - 1975, Brussels. 1968 -A
paper gateway(Tom Gutt), Brussels.
1972 -The Vocal(Tom Gutt), October 1972, [250 issues in December 1987], Brussels.

Bibliography
: Source used for writing the article

Christian Bussy,Anthology of surrealism in Belgium, Paris, Gallimard, 1972. José

Vovelle,Surrealism in Belgium, André de Rache publisher, Brussels, 1972.
Daily-Bul and C°, exhibition catalog at the Maeght Foundation, Saint-Paul de Vence, and at
the Studio du Passage 44, Brussels, Lebeer-Hossmann, Brussels, 1976 (356 p.).
Naked Lips, facsimile reissue of the twelve issues of the first series (1954-1958),
augmented by Marcel Mariën and Roger Langlais with numerous documents and an
index. Plasma, coll. “Clean Slate”, 1978.
Adam Biro and René Passeron,General dictionary of surrealism and its surroundings, Co-
edition Office du livre, Friborg (Switzerland) and Paris, Presses universitaire de France, 1982.

Marcel Marien,Surrealist activity in Belgium (1924-1950), Brussels, Lebeer-

Hossmann, 1979.
René Magritte and Belgian Surrealism, texts by Elle et Lui [Irène Hamoir and Louis
Scutenaire], Marcel Mariën, Marc Dachy and Philippe Robert-Jones, Brussels, Royal
Museum of Fine Arts of Belgium, 1982, 322 p.
Paul Nougé,Fragments, Éditions Labor-Nathan 1983. Paul
Nougé,Erotics, Didier Devillez Editor, 1994, 200 p.
Surrealism in Belgium 1, texts by Louis Scutenaire, Irine [Irène Hamoir] and André
Blavier, Paris, Galerie Isy Brachot, 1986.
Surrealism in Mons and Brussels friends, exhibition catalog, Mons 1986.
 The surrealist movement in Brussels and Wallonia (1924-1947), Paris, Wallonie Brussels
Cultural Center, 1988.
Irène, Scut, Magritte & C°, Brussels, Royal Museums of Fine Arts of Belgium, 1996, 558
p.
Françoise Lalande,Christian Dotremont, the inventor of Cobra, Stock, 1998.
The Belgian surrealists, "Europe", no912, Paris, April 2005.
Xavier Canonne,Surrealism in Belgium, 1924-2000, Mercator Fund, Brussels,
2006(ISBN 90-6153-659-6); Actes Sud, Paris, 2007, 352 p.(ISBN 9782742772094).
Christian Dotremont,Complete poetic works, Mercure de France, 1998, 549 p. Pascale
Toussaint,I live in Louis Scutenaire's house, Plumes du coq, Weyrich, 2013. Achille Béchet
& Christine Béchet,Walloon surrealists, Edition Labor, Brussels, 1987.

See as well

Related articles
Surrealism
List of personalities of the surrealist movement

external links
List of reissues of magazines, published by Éditions Didier Devillez, presenting their covers (ht
tp://www.devillez.be/dada.htm).
“The Belgian Surrealists”, in “Europe”, no912, April, Paris, 2005: presentation, "Homage to the
incomptables" by Pierre Vilar and summary of the issue, on the magazine's website (https://
www.europe-revue.net/produit/n-912-surrealistes- Belgians-April-2005/).
Extracts and photographs from some of the surrealists of Brussels (http://home.scarl et.be/
~tsj05752/textes/prefacerevue.html).
Revolutionary Surrealism (http://perso.orange.fr/karine.guihard/) Karine Guihard.

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