Herhjemme er det Wilhelm Freddie der umiddelbart forbindes med surrealismen i klassisk forstand, mest kendt for den skulptur som i mange år var i politiets varetægt:
’Sex-paralyseappeal’ i 1936, som politiet senere beslaglagte,
og som Freddie måtte afsone en hæftestraf for pornografi for.
|The Day after Yesterday|
The Naked Ape (1967) — an unabashed look at the human species. The book is notable for its focus on humanity's animalistic qualities and our similarity with other apes. Reprinted many times and in many languages, it continues to be a best-seller.The Human Zoo (1969) — a continuation of the previous book, analysing human behaviour in big modern societies and their resemblance to animal behaviour in captivity.
I was a child during World War Two and grew up viewing adult humans as rather disgusting - people whose main goal in life was to kill one another. Worse still, I spent the first part of World War Two watching my father suffering from wounds he had received in the First World War. I was fourteen when he finally died and at that age I decided, in my passionate, juvenile way, that all authorities, all governments, all religious leaders and all political leaders were the scum that floated to the top of society. I had to rebel, but I was a good little boy, well brought up by loving parents, and my rebellion could not be a destructive one - after all I was rebelling against mass violence and hatred, so my rebellion had to be of some other, more positive kind. I had two great interests, art and animals. My artistic rebellion took the form of turning my back on accepted, traditional art and associating myself instead with the Surrealists. The Surrealist Movement had itself started in the 1920s as a rebellion against the horrors of World War One, so it suited my mood perfectly. As a teenager I began painting with an obsessive fervour and, when I eventually exhibited my works, was thrilled to find that the authorities hated them. http://www.cosmoetica.com/DSI8.htm
From my father I learned correctness and stoicism. They were the two key words because he was a very correct and fair man. My scientific work is in a sense owed to him. He came back from the first world war physically ruined and never recovered. I never heard a word of complaint from his lips. The damage to his lungs was almost like having Aids and made him susceptible to every infection. He couldn't breathe properly to fuel his body, which gradually declined. By the end he was like a skeleton. But he didn't say "those so and sos, look what they've done to me", nothing like that.I missed my father's funeral because my mother wouldn't let me go. I was 14 and she sent me off to friends in the countryside, and so I imagined that he hadn't really died. The grieving probably came later when I started to think about those bastards in Whitehall who had sent him off to die. It was the beginning of a lifelong hatred of the establishment. The church, the government and the military were all on my hate list and have remained there ever since.My parents gave me the special advantage of being an only child. My wife is an only child and so is our son. It teaches you the pleasure of solitude. Loneliness isn't a word in one's vocabulary and that has helped a lot with my writing. I love to sit by myself and don't feel the need to be chatting all the time.
Congo (1954–1964) was a chimpanzee who learned how to draw and paint. Zoologist and surrealist painter Desmond Morris first observed his abilities when the chimp was offered a pencil and paper at two years of age. By the age of four, Congo had made 400 drawings and paintings. His style has been described as "lyrical abstract impressionism".
Men Jan Esman er lige i øjet som surrealist:
|Four Clones Worshipping af Volcano|
|Naturen vågner efter regnen|
Jeg tror på drømmen. På mareridtet. På underbevidstheden. Og jeg maler og tegner, hvad jeg drømmer, tænker ser og føler. Og det er selvfølgelig et mareridt det hele, selvfølgelig er det det, men det er et brugbart mareridt og for mig grundlaget for tilværelsen, for hele livet.
|Motorcykel ved bunker|
|En underlig dag|
|Hovedvej A 14|
I udstillingsbogen citeres Poul Anker Bech for følgende, som i hvert fald peger på hans ambition om at udnytte "blending" som en stærk effekt i forhold til publikum - en superrealistisk overflade med en udefinerlig imaginær undertekst:
Det er et ringe maleri, om det ikke er i stand til at suge sin beskuer indp den imaginære scene, så han/hun glemmer tid og sted. Menneskets fantastiske indbildningskraft er så stor at men med få midler på en billedflade kan send os ud på en svimlende rejse langt hinsides virkeligheden.