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In Montparnasse: The Emergence of Surrealism in Paris, from Duchamp to Dalí
As she did for the Modernists IN MONTMARTRE, noted art historian and biographer Sue Roe now tells the story of the Surrealists in Montparnasse.
In Montparnasse begins on the eve of the First World War and ends with the 1936 unveiling of Dal�'s Lobster Telephone. As those extraordinary years unfolded, the Surrealists found ever more innovative ways of exploring the interior life, and asking new questions about how to define art. In Montparnasse recounts how this artistic revolution came to be amidst the salons and caf�s of that vibrant neighborhood.
Sue Roe is both an incisive art critic of these pieces and a beguiling biographer with a fingertip feel for this compelling world. Beginning with Duchamp, Roe then takes us through the rise of the Dada movement, the birth of Surrealist photography with Man Ray, the creation of key works by Ernst, Cocteau, and others, through the arrival of Dal�. On canvas and in their readymades and other works these artists juxtaposed objects never before seen together to make the viewer marvel at the ordinary--and at the workings of the subconscious. We see both how this art came to be and how the artists of Montparnasse lived. Roe puts us with Gertrude Stein in her box seat at the opening of The Rite of Spring; with Duchamp as he installs his famous urinal; at a Cocteau theatrical with Picasso and Coco Chanel; with Breton at a session with Freud; and with Man Ray as he romances Kiki de Montparnasse.
Stein said it best when she noted that the Surrealists still saw in the common ways of the 19th century, but they complicated things with the bold new vision of the 20th. Their words mark an enormously important watershed in the history of art--and they forever changed the way we all see the world.
In Montparnasse begins on the eve of the First World War and ends with the 1936 unveiling of Dal�'s Lobster Telephone. As those extraordinary years unfolded, the Surrealists found ever more innovative ways of exploring the interior life, and asking new questions about how to define art. In Montparnasse recounts how this artistic revolution came to be amidst the salons and caf�s of that vibrant neighborhood.
Sue Roe is both an incisive art critic of these pieces and a beguiling biographer with a fingertip feel for this compelling world. Beginning with Duchamp, Roe then takes us through the rise of the Dada movement, the birth of Surrealist photography with Man Ray, the creation of key works by Ernst, Cocteau, and others, through the arrival of Dal�. On canvas and in their readymades and other works these artists juxtaposed objects never before seen together to make the viewer marvel at the ordinary--and at the workings of the subconscious. We see both how this art came to be and how the artists of Montparnasse lived. Roe puts us with Gertrude Stein in her box seat at the opening of The Rite of Spring; with Duchamp as he installs his famous urinal; at a Cocteau theatrical with Picasso and Coco Chanel; with Breton at a session with Freud; and with Man Ray as he romances Kiki de Montparnasse.
Stein said it best when she noted that the Surrealists still saw in the common ways of the 19th century, but they complicated things with the bold new vision of the 20th. Their words mark an enormously important watershed in the history of art--and they forever changed the way we all see the world.
320 pages, Hardcover
First published August 20, 2019
95 people are currently reading
654 people want to read
About the author
Sue Roe
16 books64 followersSue Roe is an acclaimed biographer and poet with a strong interest in the visual arts. Her first biography, Gwen John : A Life (Chatto & Windus, 2001), reveals that the painter best known for her quiet, restrained portraits of women was surprisingly ardent and exuberant. The Private Lives of the Impressionists (Chatto & Windus, 2006) shows how daring the early Impressionsts seemed by the standards of their own times. In Montmartre (Penguin, 2014) illuminates Picasso’s early years in Paris, when suddenly all the arts (painting, writing, film, dance) seemed to be happening in parallel.
Sue Roe’s early scholarship was on Virginia Woolf, the subject of her PhD, and she has published a number of articles on Woolf. Her critical book, Writing and Gender: Virginia Woolf’s Writing Practice (Harvester/Wheatsheaf, 1990) explores Woolf’s processes of composition. She is co-editor of The Cambridge Companion to Virginia Woolf (Cambridge University Press, 2000) and editor of the Penguin Modern Classics edition of Jacob’s Room. Her teaching is inspired by her scholarship and her editorial experience. She has taught BA, MA and PhD students at various universities, and before that worked as a Commissioning Editor for two academic publishing houses.
These days she divides her time between research for her books, which includes exploring the galleries of Paris as well as copious reading, and writing. She likes to work with a good view of the colourful garden her partner Steve has created while she drafts – and re-drafts – her work.
Sue Roe’s early scholarship was on Virginia Woolf, the subject of her PhD, and she has published a number of articles on Woolf. Her critical book, Writing and Gender: Virginia Woolf’s Writing Practice (Harvester/Wheatsheaf, 1990) explores Woolf’s processes of composition. She is co-editor of The Cambridge Companion to Virginia Woolf (Cambridge University Press, 2000) and editor of the Penguin Modern Classics edition of Jacob’s Room. Her teaching is inspired by her scholarship and her editorial experience. She has taught BA, MA and PhD students at various universities, and before that worked as a Commissioning Editor for two academic publishing houses.
These days she divides her time between research for her books, which includes exploring the galleries of Paris as well as copious reading, and writing. She likes to work with a good view of the colourful garden her partner Steve has created while she drafts – and re-drafts – her work.
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Displaying 1 - 30 of 37 reviews
November 15, 2022
[3.5 stars]
This roughly chronological account of the birth of Surrealism has its plusses and minuses. Covering a lot of ground in about 250 pages, it’s necessarily rather summary in its treatment; figures come and go at a dizzying pace and if one isn’t already steeped in the art and literary history already it may confuse more than edify. Some of these characters get more attention, notably Max Ernst, Breton, Éluard, and Cocteau, and some entertaining anecdotes enliven the narrative occasionally.
Roe gives very short shrift to the importance of Dada, however, and frames everything from Duchamp’s ‘Readymades’ to Paris Dada as mere precursors to the main event. She portrays Dada as accomplishing little but anarchic disruption, when arguably their influence has been greater on art since then, than the Surrealists’. Having read much on the subject, my instinct is also that the ballet “Relâche” was Dada’s last hurrah, as Picabia and Satie never signed on to Breton’s program...”Entr’acte”, René Clair’s film featuring Man Ray and Duchamp, which divided that program, was also more Dada in spirit. While early De Chirico fits, Roe folds all these proto and period manifestions into a programmatic whole which doesn’t always ring true. Certainly Duchamp, while never a joiner, identified more with Dada than Surrealism.
Another issue I have is that some of her account doesn’t jibe with my understanding of the facts as laid out in other, more scholarly works like Sanouillet’s ‘Dada In Paris’— for instance, how Picabia’s iconic painting “L’Oeil Cacodylate” was created. Either she’s privy to new scholarship, which I don’t see, or she’s just wrong. In his single mention, she also calls Hugo Ball, impresario of the Cabaret Voltaire, “Hans Ball”, which is just sloppy, if not an egregious typo.
Nevertheless it’s an interesting read and offers a different take on this fascinating period. Worth a look for those who love modernist art history, and more particularly the literary/artistic milieu of Paris in the 1920s.
This roughly chronological account of the birth of Surrealism has its plusses and minuses. Covering a lot of ground in about 250 pages, it’s necessarily rather summary in its treatment; figures come and go at a dizzying pace and if one isn’t already steeped in the art and literary history already it may confuse more than edify. Some of these characters get more attention, notably Max Ernst, Breton, Éluard, and Cocteau, and some entertaining anecdotes enliven the narrative occasionally.
Roe gives very short shrift to the importance of Dada, however, and frames everything from Duchamp’s ‘Readymades’ to Paris Dada as mere precursors to the main event. She portrays Dada as accomplishing little but anarchic disruption, when arguably their influence has been greater on art since then, than the Surrealists’. Having read much on the subject, my instinct is also that the ballet “Relâche” was Dada’s last hurrah, as Picabia and Satie never signed on to Breton’s program...”Entr’acte”, René Clair’s film featuring Man Ray and Duchamp, which divided that program, was also more Dada in spirit. While early De Chirico fits, Roe folds all these proto and period manifestions into a programmatic whole which doesn’t always ring true. Certainly Duchamp, while never a joiner, identified more with Dada than Surrealism.
Another issue I have is that some of her account doesn’t jibe with my understanding of the facts as laid out in other, more scholarly works like Sanouillet’s ‘Dada In Paris’— for instance, how Picabia’s iconic painting “L’Oeil Cacodylate” was created. Either she’s privy to new scholarship, which I don’t see, or she’s just wrong. In his single mention, she also calls Hugo Ball, impresario of the Cabaret Voltaire, “Hans Ball”, which is just sloppy, if not an egregious typo.
Nevertheless it’s an interesting read and offers a different take on this fascinating period. Worth a look for those who love modernist art history, and more particularly the literary/artistic milieu of Paris in the 1920s.
February 20, 2021
A chronological overview of the origins of Surrealism and its development, this book serves as an adequate introduction to the subject. Although there is a lot of interesting information, it lacks the requisite analysis to make the reading of this book satisfying; as other reviewers have noted, Roe does skim the surface in quite a few places. Her previous book, 'In Montmartre', is more engaging, describing the birth of modernist art at the turn of the twentieth century whilst successfully evoking the atmosphere of the period. It is a shame this follow-up does not quite measure up. A minor complaint: there were few but glaring typos in my copy (a particular bugbear of mine).
July 6, 2018
From BBC radio 4 - Book of the Week:
Sue Roe charts the birth of Surrealism in this racy, rackety Paris quartier, abridged in five parts by Katrin Williams:
Episode 1 of 5
Pablo Picasso moves to Montparnasse and during the years before the Great War others will follow him to the artist studios, bars and clubs. But who are these men and women exactly? They include Andre Breton, Jean Cocteau, Man Ray and ... Kiki de Montparnasse. And this is their story.
Episode 2 of 5
The Great War has started. Then we learn of the Dadaists influence on the artists of Montparnasse. Then Marcel Duchamp will invent his infamous '50cc of Paris Air' before returning to New York.
Episode 3 of 5
Man Ray now arrives in the capital, hooking up with the likes of Andre Breton and Phillipe Soupault. His photographic work advances in experimental ways, and he will get to meet 'Kiki de Montparnasse'..
Episode 4 of 5
In October 1924 Andre Breton makes public the Surrealist Manifesto. And followers of the movement should visit the Bureau for Surrealistic Research in the rue de Grenelle, it's a real eye-opener..
Episode 5 of 5
Salvador Dali arrives in Paris with Luis Bunuel, they will release the infamous film Un Chien Andalou. After that, Dali meets Gala Eluard and romance follows. And, finally, the Surrealist legacy beyond 1930..
Reader Tracy Ann Oberman
Producer Duncan Minshull.
https://www.bbc.co.uk/programmes/b0b7...
Sue Roe charts the birth of Surrealism in this racy, rackety Paris quartier, abridged in five parts by Katrin Williams:
Episode 1 of 5
Pablo Picasso moves to Montparnasse and during the years before the Great War others will follow him to the artist studios, bars and clubs. But who are these men and women exactly? They include Andre Breton, Jean Cocteau, Man Ray and ... Kiki de Montparnasse. And this is their story.
Episode 2 of 5
The Great War has started. Then we learn of the Dadaists influence on the artists of Montparnasse. Then Marcel Duchamp will invent his infamous '50cc of Paris Air' before returning to New York.
Episode 3 of 5
Man Ray now arrives in the capital, hooking up with the likes of Andre Breton and Phillipe Soupault. His photographic work advances in experimental ways, and he will get to meet 'Kiki de Montparnasse'..
Episode 4 of 5
In October 1924 Andre Breton makes public the Surrealist Manifesto. And followers of the movement should visit the Bureau for Surrealistic Research in the rue de Grenelle, it's a real eye-opener..
Episode 5 of 5
Salvador Dali arrives in Paris with Luis Bunuel, they will release the infamous film Un Chien Andalou. After that, Dali meets Gala Eluard and romance follows. And, finally, the Surrealist legacy beyond 1930..
Reader Tracy Ann Oberman
Producer Duncan Minshull.
https://www.bbc.co.uk/programmes/b0b7...
June 11, 2022
Dada, Surrealism, the Parisian art scene from 1914-1929 — Many Ray, Max Ernst, Cocteau, Breton, etc. A sharper (still historical-biographical) study than Mary McAuliffe’s two books. Not quite as interesting as the Montmartre volume, perhaps because the movements (and the characters themselves) are more decadent...
July 15, 2022
The info was fine, but it was not fluid. I understand that all the players in this historical tale technically fell below the Surrealism umbrella, but that doesn't mean a single narrative suffices. The Picasso bits were fascinating, as were those of Duchamp, but by the end of the book it felt as though it had become monopolized by Breton instead. It lacked rhythm, but it's still worth the read for sure.
October 19, 2019
After Montmartre spawned the Impressionist, Montparnasse became the spiritual home of Dada and Surrealism. Very meticulously researched and full of information, a valuable introduction and survey of this important period of modern art. I found it fascinating in many ways.
However . . . . it all feels like a history text, it's very impersonal. These artists -- Duchamp, Cocteau, Miro, Ernst, Dali and more -- are all flat; I'd have enjoyed a more personal view. Perhaps she could have described her journey learning about the artists and their works. Or she might have chosen a couple who interested her especially -- say Breton, Ernst, Dali -- and follow each life and how he became an artist, the others he met during the course of his career, the influence he had on his contemporaries.
The selection of colour plates is somewhat limited, heavy on the Ernst but very sketchy otherwise and whenever she discusses a painting, it is sure that there is no illustration to refer to. A time line of some sort would have been really useful as well.
So a valuable resource about a period of art history that has been somewhat passed over, but don't expect any sort of personal narrative.
However . . . . it all feels like a history text, it's very impersonal. These artists -- Duchamp, Cocteau, Miro, Ernst, Dali and more -- are all flat; I'd have enjoyed a more personal view. Perhaps she could have described her journey learning about the artists and their works. Or she might have chosen a couple who interested her especially -- say Breton, Ernst, Dali -- and follow each life and how he became an artist, the others he met during the course of his career, the influence he had on his contemporaries.
The selection of colour plates is somewhat limited, heavy on the Ernst but very sketchy otherwise and whenever she discusses a painting, it is sure that there is no illustration to refer to. A time line of some sort would have been really useful as well.
So a valuable resource about a period of art history that has been somewhat passed over, but don't expect any sort of personal narrative.
September 14, 2019
seems well researched, but it feels somewhat superficial, a recounting of things that people did, but little inner exploration of why, or exploration of theories. A bit hollow around a polished core.
May 23, 2021
This research is a terrific guilded narrative to Montparnasse and Paris Art scene in the 1910s,1920s and 30s.
Beautifully woven and explained the anecdotal accounts of painters, poets, dancers, newspapers, directors, socialites etc. so sympathetically explained.
Sue Roe places all the activities, art movements in situ to the turmoils of Europe, illustrating how their consequences afflicted the artists and society at large. Explaining with clarity the evolving world in Montparnasse at my favourite bistros and restaurants during a very exciting time in the evolution of the social creative class.
Anyone with any hint of interest in art of the c20th, this is a must to slot into our understanding , clarifying all the changes and accompanying the reasons that took place. Even if one isn't 'au fait' with all the artists, just keep a note of the people as one comes across, and look up the myriad of protagonists who congregated in montparnasse during those decades. It's a worthwhile endeavour.
I just wish there had been a few more artworks to see and correlated, as the pace at times became quite hectic.
Nonetheless it is a thoroughly enjoyable and exciting story and a tour de force by the knights of art. The rest is history.
Beautifully woven and explained the anecdotal accounts of painters, poets, dancers, newspapers, directors, socialites etc. so sympathetically explained.
Sue Roe places all the activities, art movements in situ to the turmoils of Europe, illustrating how their consequences afflicted the artists and society at large. Explaining with clarity the evolving world in Montparnasse at my favourite bistros and restaurants during a very exciting time in the evolution of the social creative class.
Anyone with any hint of interest in art of the c20th, this is a must to slot into our understanding , clarifying all the changes and accompanying the reasons that took place. Even if one isn't 'au fait' with all the artists, just keep a note of the people as one comes across, and look up the myriad of protagonists who congregated in montparnasse during those decades. It's a worthwhile endeavour.
I just wish there had been a few more artworks to see and correlated, as the pace at times became quite hectic.
Nonetheless it is a thoroughly enjoyable and exciting story and a tour de force by the knights of art. The rest is history.
October 11, 2019
Thoroughly enjoyed this. Am preparing a lecture on the 1913 Armory Show (NYC, Lexington Avenue) and only grabbed this in search of any tidbits on Walter Pach, the American who went over to Paris to look for work to put in the Show. Did find one mention of him, but also learned a whole lot about the daily life of the surrealist community. A light, lively read.
August 13, 2018
After reading two excellent books from Sue Roe, I decided to also buy this book. This book is not as good as the other two, but still a worthwile read. It allowed me to get some more knowledge on Dada and Surrealism.
April 29, 2020
Started out very strong, but by the middle third the storyline had devolved into Soap Opera, long stretches of what felt like conjecture without context and the occasional reminder of what was good early on.
March 11, 2021
Gobbled this book down and want to re read. Learned a lot of new things about beloved artists - even things contrary to what I thought I knew about them. It was refreshing to get a perspective not so heavily biased on either loving or hating some of the male dominant figures in surrealism.
April 22, 2025
I wanted to finish, but I couldn't. It just wasn't nearly as interesting as I'd hoped it would be, and I place the blame for that on how the author tried to fit this huge scope into such a small space. It can be done, I suppose, but this wasn't it for me.
May 20, 2020
If you struggle to understand the differences between, development of, and relationship between Dada and surrealism, read Sue Roe's book. It answered all of my questions (and then some).
August 17, 2021
Sue Roe's project as an author is a smart one: instead of limiting a discussion of an artistic movement to a particular person, limit it to a particular place. I already read Roe's other title, "In Montmartre: Picasso, Matisse and the Birth of Modernist Art" and both books offer a compelling portrait of their respective artistic movements and the scene that shaped them.
Both books are great, but I'll confess I had an easier time with "In Montmartre" as the painters around Picasso were all kind of rowing in the same direction and anyone familiar with modernism can wrap their head around their projects. By contrast, "In Montparnasse" explores the various flows that erupted after the triumph of modernism and the strands are a bit harder to follow.
I think I have a firm grasp of what Breton, Cocteau, Dali, Duchamp, and Man Ray were after more or less after reading this book. But I'll confess that I kind of lost the plot when it comes to more minor surrealists, futurists, dadaists, and cubists that surrounded them.
I don't think this is a fault of Roe's writing though. I am not sure that any writer could cleanly and completely outline all of the various movements happening in Paris in the immediate aftermath of World War I, and this is probably the best introductory attempt one could hope for. Even if I didn't grasp everything, I do feel like I learned a lot.
Can I cleanly define surrealism for you? No. But in Roe's exploration of the various aspects of the movement: delving in the subconscious and dreams, meditation on the past and the future, the blending of the sacred and profane, elevating everyday objects to objects d'arte, and interrogating the meaning of art as text, I feel that I was able to take a step back and think about my own art and gain an appreciation for a wide variety of works I've encountered over the years.
And as a final tribute to the surrealists, I should mention that I listened to a good chunk of this book while I was getting my teeth whitened, which really emphasized for me just how a surreal experience can erupt out of the mundane moments in our lives.
Both books are great, but I'll confess I had an easier time with "In Montmartre" as the painters around Picasso were all kind of rowing in the same direction and anyone familiar with modernism can wrap their head around their projects. By contrast, "In Montparnasse" explores the various flows that erupted after the triumph of modernism and the strands are a bit harder to follow.
I think I have a firm grasp of what Breton, Cocteau, Dali, Duchamp, and Man Ray were after more or less after reading this book. But I'll confess that I kind of lost the plot when it comes to more minor surrealists, futurists, dadaists, and cubists that surrounded them.
I don't think this is a fault of Roe's writing though. I am not sure that any writer could cleanly and completely outline all of the various movements happening in Paris in the immediate aftermath of World War I, and this is probably the best introductory attempt one could hope for. Even if I didn't grasp everything, I do feel like I learned a lot.
Can I cleanly define surrealism for you? No. But in Roe's exploration of the various aspects of the movement: delving in the subconscious and dreams, meditation on the past and the future, the blending of the sacred and profane, elevating everyday objects to objects d'arte, and interrogating the meaning of art as text, I feel that I was able to take a step back and think about my own art and gain an appreciation for a wide variety of works I've encountered over the years.
And as a final tribute to the surrealists, I should mention that I listened to a good chunk of this book while I was getting my teeth whitened, which really emphasized for me just how a surreal experience can erupt out of the mundane moments in our lives.
August 18, 2023
After the author called the Cabaret Voltaire leader Hans instead of Hugo Ball, I found it increasingly difficult to continue reading this book. Somehow I did. Such is my love for modernist art and Paris!
Apart from that howler, In Montparnasse seems thoroughly researched and provides plenty of details on the lives, likes and dislikes of the artists, sometimes even bordering on gossipy. The book looks great with a fine (though hardly surrealist) painting by Sonia Delauney on the cover, but it disappoints for several reasons.
1) Surrealism is hard to define and it is even more difficult to limit it to one particular Paris district. Being American, Roe can’t but include New York. Other paths she doesn’t follow.
2) The illustrations included are a bit random. Some of them appear in the text, some of them don’t. Roe spends a lot of time describing art not reproduced in the book. That is like learning to swim with a textbook.
3) A map of Montparnasse with relevant surrealist addresses marked on it would have been nice.
4) Roe’s evaluation of some of the works discussed had me frowning, e.g. calling LHOOQ one of Duchamp’s lesser works. In general, she sometimes makes strange choices in which artworks to discuss and which not, it seems. Joan Miro seems to be treated quite poorly here.
5) It is a bit weird to give Duchamp such a leading role. The fiercely independent Marcel Duchamp is about as surrealist as my grandma. He never considered himself a surrealist at all (and neither do I).
6) Even though she devotes about half the book to it, Dada is reduced to a mere precursor of surrealism. Overall I feel that she has a poor grasp of the genius of Dada (which might explain Hans Ball).
7) OK, I admit: surrealism has never been my favourite ism in modernist art –I always found them a bit boring – and this book did nothing to change that.
In Montparnasse is a follow-up to the apparently successful In Montmartre, the book Roe wrote about the emergence of modernist art in the years before. I suspect her real specialization lies there.
Apart from that howler, In Montparnasse seems thoroughly researched and provides plenty of details on the lives, likes and dislikes of the artists, sometimes even bordering on gossipy. The book looks great with a fine (though hardly surrealist) painting by Sonia Delauney on the cover, but it disappoints for several reasons.
1) Surrealism is hard to define and it is even more difficult to limit it to one particular Paris district. Being American, Roe can’t but include New York. Other paths she doesn’t follow.
2) The illustrations included are a bit random. Some of them appear in the text, some of them don’t. Roe spends a lot of time describing art not reproduced in the book. That is like learning to swim with a textbook.
3) A map of Montparnasse with relevant surrealist addresses marked on it would have been nice.
4) Roe’s evaluation of some of the works discussed had me frowning, e.g. calling LHOOQ one of Duchamp’s lesser works. In general, she sometimes makes strange choices in which artworks to discuss and which not, it seems. Joan Miro seems to be treated quite poorly here.
5) It is a bit weird to give Duchamp such a leading role. The fiercely independent Marcel Duchamp is about as surrealist as my grandma. He never considered himself a surrealist at all (and neither do I).
6) Even though she devotes about half the book to it, Dada is reduced to a mere precursor of surrealism. Overall I feel that she has a poor grasp of the genius of Dada (which might explain Hans Ball).
7) OK, I admit: surrealism has never been my favourite ism in modernist art –I always found them a bit boring – and this book did nothing to change that.
In Montparnasse is a follow-up to the apparently successful In Montmartre, the book Roe wrote about the emergence of modernist art in the years before. I suspect her real specialization lies there.
September 3, 2022
I came away from this book with a somewhat better understanding of the meaning and context of surrealism, though less of an admiration for it, a dislike of André Breton, and a desire to revisit Montparnasse. That last item would always be true, book or no book.
Three quarters of the way through In Montparnasse: The Emergence of Surrealism in Paris from Duchamp to Dalí I found myself thinking of the book as more of a narrative listing of events associated with the Surrealists (somewhat disjointed) and less of an immersion in it. Descriptions of art works for which there were no images weren't helpful, and there were lots of those. The plates that were in the book were mostly helpful, but more would have been better and more that were actually described within the book. Maybe some of the photos of the Surrealists could have been replaced with photos of their works. Most perplexing was Roe's failure to mention that Modigliani's untimely death at 35 was followed the very next day by the suicide of his pregnant fiancé and fellow artist, Jeanne Hébuterne, who in ending her life left their young daughter to be raised by others. A few lines would have been sufficient to include this poignant occurrence, which was surely more interesting than other things that were included, like every place some of these folks went to vacation.
For me, by far the most interesting chapter was the penultimate one "The Impact of Salvador Dalí." But whatever happened to André Breton? His story is never tied up, the last mention being that his mood had improved possibly because of his affair with Valentine Hugo ... but to end on that note regarding someone who had such an enormous formative impact on the development and chronicling of surrealism was unsatisfying.
The book could have benefited from more reflection, a better interweaving of individual surrealist stories, and probably more pages. As it was, there was too much of an "and then ..." quality to it.
Three quarters of the way through In Montparnasse: The Emergence of Surrealism in Paris from Duchamp to Dalí I found myself thinking of the book as more of a narrative listing of events associated with the Surrealists (somewhat disjointed) and less of an immersion in it. Descriptions of art works for which there were no images weren't helpful, and there were lots of those. The plates that were in the book were mostly helpful, but more would have been better and more that were actually described within the book. Maybe some of the photos of the Surrealists could have been replaced with photos of their works. Most perplexing was Roe's failure to mention that Modigliani's untimely death at 35 was followed the very next day by the suicide of his pregnant fiancé and fellow artist, Jeanne Hébuterne, who in ending her life left their young daughter to be raised by others. A few lines would have been sufficient to include this poignant occurrence, which was surely more interesting than other things that were included, like every place some of these folks went to vacation.
For me, by far the most interesting chapter was the penultimate one "The Impact of Salvador Dalí." But whatever happened to André Breton? His story is never tied up, the last mention being that his mood had improved possibly because of his affair with Valentine Hugo ... but to end on that note regarding someone who had such an enormous formative impact on the development and chronicling of surrealism was unsatisfying.
The book could have benefited from more reflection, a better interweaving of individual surrealist stories, and probably more pages. As it was, there was too much of an "and then ..." quality to it.
November 5, 2023
I wanted to like this book more but it proves to be a slow plod through a small section of the history of Surrealism. The title is simply misleading as most of the book focuses on Andre Breton, the response to World War I, and is remarkably parochial. Not a single female surrealist is mentioned in a movement that punched above its weight for female artists. My boy Magritte gets maybe a paragraph and Picasso is dwelled on excessively. This is a book about personalities and politics and less so art. This shouldn't be the first Surrealism book you read, but it could be the sixth.
Of note:
* How much of surrealism in France was driven by WWI and Breton's embrace of communism
* The degree to which place influenced the art. Small spaces and shabby places were mirrored in the art
*What made surrealism succeed where Dada didn't really go anywhere. Dada had nothing to say and lost interest even if it was wildly creative.
*Much of Magritte's work in France was during a brief, wildly productive period where he did some 170 paintings in three years
Of note:
* How much of surrealism in France was driven by WWI and Breton's embrace of communism
* The degree to which place influenced the art. Small spaces and shabby places were mirrored in the art
*What made surrealism succeed where Dada didn't really go anywhere. Dada had nothing to say and lost interest even if it was wildly creative.
*Much of Magritte's work in France was during a brief, wildly productive period where he did some 170 paintings in three years
December 31, 2023
I am not well-versed in Dadaist or surrealist artists apart from a few like Man Ray, Dali, Duchamp, and others. So for me, it was difficult to track. I think a glossary of names and key terminologies at the end would have helped. Like how are Dada and Surrealists different?
Apollinaire coined the term Sur - realism, which as the French word means goes beyond realism. Breton created the journal Surrealist Revolution.
Dadaism was the product of the Great War. It went against the norm to create shock among viewers. It was nihilistic and borne out of anger at the slaughter of millions. Surrealism was created after the war, and it was more positive but the shock element remained. It was influenced by psychoanalysis and Breton met Freud (hated as Freud was less than cordial). It aimed to create introspection and reflection among viewers.
Apollinaire coined the term Sur - realism, which as the French word means goes beyond realism. Breton created the journal Surrealist Revolution.
Dadaism was the product of the Great War. It went against the norm to create shock among viewers. It was nihilistic and borne out of anger at the slaughter of millions. Surrealism was created after the war, and it was more positive but the shock element remained. It was influenced by psychoanalysis and Breton met Freud (hated as Freud was less than cordial). It aimed to create introspection and reflection among viewers.
March 9, 2022
If you are visiting Paris as an art lover, this book, along with Montmarte, are must reads! Sue Roe provides a lot of background information about one of my favorite artists, Modigliani, as well as the Paris art scene in the early 1900s, and the beginning of the Dada and Surrealist movements. I can now look at surrealism and ready-mades with more understanding. I can’t wait until my first visit to Montparnasse later this year!
May 14, 2024
I love the subject matter, but I found the writing a little dry. I guess I'm not so much into the Vanguards of the Early XX Century. I thought I liked surrealism but, as I learned in this volume, it turns out that both my favorite artists were not really part of the movement full time (de Chirico never considered himself a surrealist and Magritte quit them). So, interesting, for art lovers, but maybe not for me.
January 31, 2023
Obsessed with this! Roe (as usual) managed to awaken some kind of artistic passion within a person with no artistic inclinations at all (me). Anyway, Montparnasse did not feature as heavily as I expected it to but I liked the contrast of having Breton (a chaotic instigator) as the glue through the development of the book as opposed to Fernande (a passive-ish observer) in ‘In Montmartre’.
February 15, 2024
A group biography of the avant-garde artists and Surrealists who converged in the Paris of the 1920s. From Duchamp, Cocteau, Man Ray to Picasso & Dali - they’ve all here. To be honest it was a bit hard going, but I’m still quite interested in reading the companion volume looking at the Impressionists who dominated the same city a generation before.
June 28, 2025
I didn’t enjoy this as much as Sue Roe’s ‘In Montmartre’ not because of there’s anything wrong with this book, it is detailed yet informative, but purely because I am less interested in the subject matter. Not greatly being a fan of surrealism or theatre history (which takes up a sizable chunk of the book) it more educated me than, entertained.
July 13, 2025
sequel to In Montmartre, which i read last year. readable and evocative, although gallops through it all quite quickly, and the decision to cut off just as Dali takes surrealism mainstream feels odd. still, any book that can make you aware of the genius of Max Ernst must have something going for it...
April 21, 2023
Excellent—rich w detail, helpful for me w reconnecting to lots of my failed artistry fifteen years ago. Encouraged to find the continuing through line. And some interesting things that seem a little counterintuitive to me abt the mystery of photography to surrealists
June 11, 2024
As ambitious as it is scattered, I can never get a second to breathe and figure out what exactly is going on. This book requires a great deal of prior understanding and history of DADA and surrealism, neither of which I had going into the piece, leading to a less than spectacular reading experience
July 15, 2024
Exceptional
This book really delivers on the promise of the history of surrealism. I understood more about the artists, their art and the environment at the time. I’ve read lots about these artists and the art scene in Paris, but still found a lot that was new to me. HIGHLY RECOMMENDED.
This book really delivers on the promise of the history of surrealism. I understood more about the artists, their art and the environment at the time. I’ve read lots about these artists and the art scene in Paris, but still found a lot that was new to me. HIGHLY RECOMMENDED.
April 13, 2025
A look at the people and art following World War I--from Dada to Surrealism. The book depicts the transformative time and the strange people and art. It gives a good idea of how these people interacted and their reaction to the horror of the war. The personalities are at times overwhelming!
December 15, 2025
I am a huge fan of surrealism, and this is one of the best art history books I've ever read. There are vivid, in-depth portraits of all of the major players in the early days of the surrealist movement. Highly recommend.
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