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(Journal Article) |
What engaged him was not Andr Bretons radical disruption of the bourgeois unconscious but the social fantastic as Pierre Mac Orlan described it in the essay that supplies the preface to Atget Photographe de Paris Paris Henri Jonquires New York E Weyhe a copy of which Brandt had purchased in There was also a German edition Eugne Atget Lichtbilder with a preface by Camille Recht Leipzig Verlag Henri Jonquires The reference to Brandts purchase of the volume is in Mellor Brandts Phantasms 96 (1930)
Brandt’s investment in surrealism went back not just to his strange semi-apprenticeship with Man Ray in but to the broader encounters during his years in Paris between and .
Notes
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42. Brandt’s investment in surrealism went back not just to his strange semi-apprenticeship with Man Ray in 1930 but to the broader encounters during his years in Paris between 1930 and 1934. What engaged him was not André Breton’s radical disruption of the bourgeois unconscious but the “social fantastic,” as Pierre Mac Orlan described it in the essay that supplies the preface to Atget: Photographe de Paris (Paris: Henri Jonquières; New York: E. Weyhe, 1930), a copy of which Brandt had purchased in 1930. There was also a German edition, Eugène Atget: Lichtbilder, with a preface by Camille Recht (Leipzig: Verlag Henri Jonquières, 1930). The reference to Brandt’s purchase of the volume is in Mellor, “Brandt’s Phantasms,” 96.