Dada developed as an activity whose integral commitment was to being subversive. Activities were organized by all kinds of artists and it oft consisted of making things though destruction was preferable. Former cubist artists Francis Picibia and wave Duchamp pioneered the movement. What Duchamp did was to represent a common object with common associations and trust it in a context that upset those associations. Take L.H.O.O.Q his prune for instance, Duchamp takes a world-revered artwork, the Mona Lisa and draws a mustache under her nose to completely distort meetingal assumptions we have of the work. This idea of surprise grew stunned of Dadas insistence to shock. Dada was a movement that made no sense. It was purely an attack on convention; terrorist art1. It emerged during the most turbulent time ever for the European incorrupt since the Black Death and ideals everywhere were being shattered by the reality of war. Dada emerged as a sort of convulsion; it was like a reaction spawned from sheer, unadulterated frustration.
In 1917 when Duchamp displayed a urinal at an exhibition in Paris claiming it to be rear art, he effectively blew the bloody doors of convention function off.
So although almost all Dada works were anarchic, unbridled and purely provocative, there were threads of it that led to surrealism. What produced the startling protagonist of shock for instance was the clash of 2 or more(prenominal) associations. The principle of exploiting baffling juxtapositions of brining together objects that are wholly self-contradictory in nature later became the bases of the Surrealist movement.1
The first Surrealist manifesto was scripted in 1924. To explain the philosophy of the movement, its founder, Andre Breton often quoted the nineteenth century writer the count of Lautreamont: there...If you want to get a full essay, order it on our website: Ordercustompaper.com
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