Looking for love in all the wrong places’
Brassaï in André Breton's Mad Love
Bibliographic Data
| ID | 14694082 |
|---|---|
| Authors | Caroline Blinder (corresponding author) |
| Year | 2005 |
| Volume | 29 |
| Issue | 2 |
| Pages | 114-122 |
| Publication date | 2005-06-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | History of Photography (JOURNAL) |
| Journal identifiers | ISSN: 0308-7298 • E-ISSN: 2150-7295 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/03087298.2005.10441364 |
| OpenAlex | W2093638705 |
| Language | EN |
This article addresses the issue of automatism in the context of Surrealist practice and, in particular, how Brassal's photographs in L'Amour Fou (Mad Love) (1936) speak to us of an alignment between photography and the marvellous. It argues that Mad Love presents the photograph as a link between narrative action and location, desire and its possible representation. Despite being devoid of an overtly emotive human presence, Brassal's nocturnal visions of Paris represent the search for an all-encompassing love
Aesthetics · Art · Art history · Emotive · Literature · Love story · Narrative · Sociology · Theology · Vision · Visual arts · Art, Politics, and Modernism · History · Philosophy · Photography and Visual Culture · Psychology · Visual Culture and Art Theory
| Highly cited | No |
|---|