The only style of any importance to develop in the years following World War I was surrealism. This style, an outgrowth of dada, became the most important art movement in Europe during the late 1920's and 1930's. Many artists who were not members of the movement were strongly influenced by it during this period—even Pablo Picasso, the cubist painter.
Many of those who were very important in the dada movement—such as the French writer André Breton (1896-1966) and the German-born painter Max Ernst (1891-1976)—were also the founders of surrealism. This new school combined the dada idea of automatism (free and automatic painting) with the psychology of Sigmund Freud. Freud believed that people's real thoughts were hidden in their unconscious minds and in their dreams. He felt that to understand people you must search their dreams. Only dreams are clear. Daytime life is too full of outside events to be understood.
The surrealists believed that the artist should try to understand this world of dreams. They felt that the job of the artist was to show this unconscious world through his work. Obviously they could not paint while asleep. They believed the next best thing was to let the imagination wander and to paint whatever happened to come to mind.
Probably the most important of the surrealist artists was Max Ernst. Not only was he one of the founders of the movement, but he was also a great innovator, developing new ideas in collage. He invented the technique called frottage (texture rubbings). Ernst worked mostly with the idea of automatism, allowing his imagination complete freedom. He often painted or pasted objects next to one another that had no apparent reason for being together. They were placed in this position as an automatic action.
Max Ernst also worked quite often in sculpture, using the same theory of automatism in this medium. Some of the work he did was modeled from clay, using strange and imaginative forms, while other pieces were constructed of ready-made objects in a collagelike technique.
Another very important artist of this period was Joan Miró (1893-1983), who was born in Spain. Although Miró developed no new techniques, his paintings are good examples of surrealism. Completely forgetting the real world, his mind invented humorous abstract paintings made of colorful and unusual forms.
Working a great deal in sculpture, mostly as construction, Jean (Hans) Arp (1887-1966) also was influential as a surrealist artist. Like Miró, Arp created abstract works, using automatism as a means of freeing his imagination and allowing his unconscious mind full reign. Arp's work was based on simple shapes, often symbolic or suggestive of living forms.
A very important surrealist sculptor is Alberto Giacometti (1901-66), who was born in Switzerland. Some of Giacometti's work seems to use space as its only subject matter. His sculpture often consists of a group of sticklike figures standing on a flat surface. Because the figures are so simple, it becomes obvious to the viewer that the space between them is important. The effect of these strange pieces of sculpture is often eerie and dreamlike.
There were some artists who took an entirely different approach to surrealism; among this group were the Spanish painter Salvador Dali (1904-89), French-born Yves Tanguy (1900-55), and an Italian, Giorgio di Chirico (1888-1978). These artists believed in a more literary approach to surrealism. They tried to illustrate dreams the way one would illustrate a story, using symbolic images. Tanguy and di Chirico were very popular during their own period but did not have a great influence on later artists.