Surrealism Quotes

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This collection holds 46 surrealism quotes, drawn from writers, leaders, artists and thinkers across the QuoteForever archive. The most quoted voices here are Alejandro Jodorowsky, Salvador Dali and Vincente Minnelli.

They are ordered so that each author has a say before anyone repeats, which means the first page gives you the range of the topic rather than one writer's back catalogue.

Use the grid and list views to change how much of each quote you see, follow an author's name to read everything else they said, or open a quote on its own page to copy it, share it, or turn it into a picture quote.

I love surrealism.

Exit, pursued by a bear.

Let my enemies devour each other.

Surrealism runs through the streets.

But surrealism is present in most of my pictures.

Nothing that surrounds us is object, all is subject.

As far as the style, I was fascinated by surrealism.

For me, surrealism is in my blood; it's not an effort.

THE ACT OF KILLING invents a new form of cinematic surrealism.

MTV has severely compromised surrealism, perhaps ruined it forever.

I know the new comedy god is surrealism, but it doesn't touch my heart.

I think it was more personal, but I certainly tried to adapt certain concepts of Surrealism.

Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.

Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.

The overintellectualization of surrealism can be a bromide. A dream interpreted is a deflated dream.

Surrealism: An archaic term. Formerly an art movement. No longer distinguishable from everyday life.

Drosselmeier had unwittingly exposed himself to an overdose of reality, and it had destroyed his reason.

Here is a paradox. It would seem that there cannot be surrealism and photography, but only photography or surrealism.

Todd Solondz is a film maker I've always loved because of how he balances darkness, humour and surrealism in his films.

I was raised by boys. I can hold my own, I can fight, and I love horror movies - simply for the scare factor and the surrealism.

The type of work I do, which is often called 'Pop Surrealism,' is very separate from Gagosian and Mary Boone type of gallery art.

I thought that punk in its original state was a revolutionary movement. But like surrealism, it failed in its revolutionary attempt.

Surrealism had a great effect on me because then I realised that the imagery in my mind wasn't insanity. Surrealism to me is reality.

Surrealism is a bourgeois disaffection; that its militants thought it universal is only one of the signs that it is typically bourgeois.

My cartoon strips in college strived to have the Schulzian mix of surrealism and Charlie Brown angst. A bit of that combo shows up in 'Up.'

We are proud of our ridiculousness. That's what made our Surrealism. Proud and ashamed of everything at the same time. I think that's my definition of Belgium.

A few friends and me used to go and watch Bunuel, Carne, Cocteau... Cocteau and Bunuel were surrealism. And I was very excited by that. 'Un Chien Andalou', especially.

For 120 minutes, 'Birdman' floats from comedy to surrealism to high drama to quiet brilliance. I felt so inspired by watching this movie. It reaches for the sky and never comes back down to earth.

Absurdity is my favorite brand of humor because deep down inside, in our subconscious, it's all surrealism. It's all abstract. The world is the surrealism, the absurdity, the humor - it all just overlaps.

I've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That's what I've always done.

That was in 1957. And there I found out that Germany is a kind of province. I didn't know anything about expressionism, about the Bauhaus and Dada and surrealism. I was uneducated, so to speak - and everybody else was more or less uneducated, too.

Surrealism is my stamp. I have a post graduate diploma in theatre and I was introduced to this concept and it stuck by me because it speaks of the hypocritical nature of the reality. We are something more inside and I want to portray the pluralities in thought.

I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.

I think I was so grateful, in the years after Sleater-Kinney broke up or went on hiatus or whatever you want to call it, to find 'Portlandia' and co-create 'Portlandia' with Fred Armisen, which allows for levity, allows for the same kind of kinetic energy, but channeled through absurdity and surrealism.

Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.

Dali was the great painter then and surrealism was a way of life.

It is living and ceasing to live that are imaginary solutions. Existence is elsewhere.

The end of the surrealism movement was so political, so artistically pure.

This strange business of what it is to be a writer is this increasingly insane world in which we live, in which surrealism, it seems, is the new realism.

The poetry and transgression that was so much of surrealism's anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, by the fashion shoot.

Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.

The Pirate is surrealism and so, in a curious way, is Father of the Bride.

What is admirable about the fantastic is that there is no longer anything fantastic: there is only the real.

Surrealism - in particular with Salvador Dali - was all about ego. It was all about extreme individualism.

When I was an adolescent, I abandoned my country at 23 years to come to Paris to know Andre Breton, the 'Pope of Surrealism.' And for three years, I was there working with him being a surrealist.

Surrealism was necessary - essential, even - in the 1920s to bridge the gap between rationalism and the subconscious. It started something important. But by the early '60s, it had become petit-bourgeois; it was too intellectual and romantic, and had ground to a halt. It had become respectable.

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