The forerunner of surrealism can safely be considered a caricature, which was born as the direction of fine art (genre) long before the advent of this avant-garde trend.

In the cartoon, the same opportunities for phantasmagoria, conceptualism, which help the disclosure of the subject, with a wide range of conventions and unrealism, which are unthinkable in realistic art, are manifested when, as in a caricature, these conditions are preferable.

The ironic graphics and paintings typical for the masters of the philosophical caricature, where the semantic part is not so clearly and quickly read by the unprepared spectator, is sufficient proof that between these two directions in the visual arts there is only a small gap, defined as the transition from the hall to the hall The art gallery exhibits the history of the visual culture of mankind.

M. Valiakhmetov

Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects, and developed painting techniques that allowed the unconscious to express itself. Its aim was to “resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality”.

Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement.

Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

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