How we look at Surrealism, how it looks at the objects it encounters, and how it looks from here: all these looks intertwine in this study linking Surrealism and the Baroque. Le look (whatever it might be): you have it or you don't, and Surrealism had it all the way. The emotional charge Surrealism extended to the objects of its encounter makes itself felt as at least philosophically erotic. This charged look determines the atmosphere around the Surrealist text and its encounters—in the world of art and the world it made into art. In this unprecedented attempt to make sense of the way Surrealism sees, conceals, poses, and stares at its own self and the selves of others, Mary Ann Caws examines the decors, games, portraits, transformations, and mirrorings that establish Surrealism's links to Baroque forms of representation, suggesting that Surrealism looks the way it looks and speaks the Baroque language it speaks because whoever is looking frames it that way.
About the Author
Mary Ann Caws is Distinguished Professor of English, French, and Comparative Literature in the Graduate School of the City University of New York and Co-director of its Henri Peyre French Institute. She is the author, editor, or translator of more than forty books in the fields of poetry and the avant-garde.
"Caws's love of her subject and intimate knowledge of it are immediately clear." —New Art Examiner