Peo­ple don’t seem to write a lot of man­i­festos these days. Or if they do write man­i­festos, they don’t make the impact that they would have a cen­tu­ry ago. In fact, this year marks the hun­dredth anniver­sary of the Man­i­feste du sur­réal­isme, or Sur­re­al­ist Man­i­festo, one of the most famous such doc­u­ments. Or rather, it was two of the most famous such doc­u­ments, each of them writ­ten by a dif­fer­ent poet. On Octo­ber 1, 1924, Yvan Goll pub­lished a man­i­festo in the name of the sur­re­al­ist artists who looked to him as a leader (includ­ing Dada Man­i­festo author Tris­tan Tzara). Two weeks lat­er, André Bre­ton pub­lished a man­i­festo — the first of three — rep­re­sent­ing his own, dis­tinct, group of sur­re­al­ists with the very same title.

Though Goll may have beat­en him to the punch, we can safe­ly say, at a dis­tance of one hun­dred years, that Bre­ton wrote the more endur­ing man­i­festo. You can read it online in the orig­i­nal French as well as in Eng­lish trans­la­tion, but before you do, con­sid­er watch­ing this short France 24 Eng­lish doc­u­men­tary on its impor­tance, as well as that of the sur­re­al­ist art move­ment that it set off.

“There’s day-to-day real­i­ty, and then there’s supe­ri­or real­i­ty,” says its nar­ra­tor. “That’s what André Bre­ton’s Sur­re­al­ist Man­i­festo was aim­ing for: an artis­tic and spir­i­tu­al rev­o­lu­tion” dri­ven by the rejec­tion of “rea­son, log­ic, and even lan­guage, all of which its acolytes believed obscured deep­er, more mys­ti­cal truths.”

“The real­is­tic atti­tude, inspired by pos­i­tivism, from Saint Thomas Aquinas to Ana­tole France, clear­ly seems to me to be hos­tile to any intel­lec­tu­al or moral advance­ment,” the trained doc­tor Bre­ton declares in the man­i­festo. “I loathe it, for it is made up of medi­oc­rity, hate, and dull con­ceit. It is this atti­tude which today gives birth to these ridicu­lous books, these insult­ing plays.” He might well have also seen it as giv­ing rise to events like the First World War, whose grind­ing sense­less­ness he wit­nessed work­ing in a neu­ro­log­i­cal ward and car­ry­ing stretch­ers off the bat­tle­field. It was these expe­ri­ences that direct­ly or indi­rect­ly inspired a wave of avant-garde twen­ti­eth-cen­tu­ry art, more than a few pieces of which star­tle us even today — which is say­ing some­thing, giv­en our dai­ly diet of absur­di­ties in twen­ty-first cen­tu­ry life.

Relat­ed con­tent:

An Intro­duc­tion to Sur­re­al­ism: The Big Aes­thet­ic Ideas Pre­sent­ed in Three Videos

Europe After the Rain: Watch the Vin­tage Doc­u­men­tary on the Two Great Art Move­ments, Dada & Sur­re­al­ism (1978)

A Brief, Visu­al Intro­duc­tion to Sur­re­al­ism: A Primer by Doc­tor Who Star Peter Capal­di

The For­got­ten Women of Sur­re­al­ism: A Mag­i­cal, Short Ani­mat­ed Film

Read and Hear Tris­tan Tzara’s “Dada Man­i­festo,” the Avant-Garde Doc­u­ment Pub­lished 100 Years Ago (March 23, 1918)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Édouard Manet’s Le Déje­uner sur l’herbe (1863) caused quite a stir when it made its pub­lic debut in 1863. Today, we might assume that the con­tro­ver­sy sur­round­ing the paint­ing had to do with its con­tain­ing a nude woman. But, in fact, it does not con­tain a nude woman — at least accord­ing to the analy­sis pre­sent­ed by gal­lerist-Youtu­ber James Payne in his new Great Art Explained video above. “The woman in this paint­ing is not nude,” he explains. “She is naked.” Where­as “the nude is posed, per­fect, ide­al­ized, the naked is just some­one with no clothes on,” and, in this par­tic­u­lar work, her faint­ly accusato­ry expres­sion seems to be ask­ing us, “What are you look­ing at?”

Here on Open Cul­ture, we’ve pre­vi­ous­ly fea­tured Manet’s even more scan­dalous Olympia, which was first exhib­it­ed in 1865. In both that paint­ing and Déje­uner, the woman is based on the same real per­son: Vic­torine Meurent, whom Manet used more fre­quent­ly than any oth­er mod­el.

“A respect­ed artist in her own right,” Meurent also “exhib­it­ed at the Paris Salon six times, and was induct­ed into the pres­ti­gious Société des Artistes Français in 1903.” That she got on that path after a work­ing-class upbring­ing “shows a for­ti­tude of mind and a strength of char­ac­ter that Manet need­ed for Déje­uner.” But what­ev­er per­son­al­i­ty she exud­ed, her non-ide­al­ized nudi­ty, or rather naked­ness, could­n’t have changed art by itself.

Manet gave Meuren­t’s exposed body an artis­tic con­text, and a max­i­mal­ly provoca­tive one at that, by putting it on a large can­vas “nor­mal­ly reserved for his­tor­i­cal, reli­gious, and mytho­log­i­cal sub­jects” and mak­ing choic­es — the vis­i­ble brush­strokes, the stage-like back­ground, the obvi­ous clas­si­cal allu­sions in a clear­ly mod­ern set­ting — that delib­er­ate­ly empha­size “the arti­fi­cial con­struc­tion of the paint­ing, and paint­ing in gen­er­al.” What under­scores all this, of course, is that the men sit­ting with her all have their high­ly eigh­teen-six­ties-look­ing clothes on. Manet may have changed the rules, open­ing the door for Impres­sion­ism, but he still reminds us how much of art’s pow­er, what­ev­er the peri­od or move­ment, comes from sheer con­trast.

Relat­ed Con­tent:

The Scan­dalous Paint­ing That Helped Cre­ate Mod­ern Art: An Intro­duc­tion to Édouard Manet’s Olympia

Édouard Manet Illus­trates Edgar Allan Poe’s “The Raven,” in a French Edi­tion Trans­lat­ed by Stephane Mal­lar­mé (1875)

A Quick Six Minute Jour­ney Through Mod­ern Art: How You Get from Manet’s 1862 Paint­ing The Lun­cheon on the Grass to Jack­son Pol­lock­’s 1950s Drip Paint­ings

Watch Icon­ic Artists at Work: Rare Videos of Picas­so, Matisse, Kandin­sky, Renoir, Mon­et, Pol­lock & More

The Muse­um of Mod­ern Art (MoMA) Puts Online 90,000 Works of Mod­ern Art

Great Art Explained: Watch 15 Minute Intro­duc­tions to Great Works by Warhol, Rothko, Kahlo, Picas­so & More

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.