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The second tendency of Surrealist painting, sometimes called Veristic Surrealism, was to depict with meticulous clarity and often in great detail a world analogous to the dream world. Before responding to the Metaphysical painting of de Chirico and being brought into the Surrealist Movement in 1929, Salvador Dali had admired the command of detail in artists such as Ernest Meissonier (1815-1891) and the Pre-Raphaelites; his physical technique continued to reflect this admiration. Dali's importance for Surrealism was that he invented his own 'psycho technique', a method he called 'critical paranoia'. He deliberately cultivated delusions similar to those of paranoiacs in the cause of wresting hallucinatory images from his conscious mind. Dali's images - his bent watches, his figures, halfhuman, half chest of drawers - have made him the most famous of all Surrealist painters. But when he changed to a more academic style in 1937 Breton expelled him from the Movement.
The Surrealist paintings of Rene Magritte (1898-1967) combine convincing descriptions of people and objects in bizarre juxtapositions with a competent but pedestrian physical painting technique. The results question everyday reality, stand it on its head and present a new surreality. These odd juxtapositions were explored by the English painter Edward Wadsworth, who used tempera to achieve a dreamlike clarity in his work. Surrealists approved of desire in its attack on reason and the Veristic Surrealism of Paul Delvaux (b 1897), in which women appear in the cool surroundings of noble architecture and exude an hallucinatory eroticism.
Veristic Surrealism subdivides into a second main type in the work of Yves Tanguy. The dreamlike visions that Tanguy produced from the unconscious layers of the mind contain meticulously described yet imaginary objects. There are no bizarre juxtapositions. His is a self consistent world that convinces on its own terms as in a dream. In the work of the Veristic Surrealists, the surface of the painting tends to be flat and glossy: the viewer is reminded as little as possible that the illusion is composed of paint and the hallucinatory effect is thereby enhanced.
'Automatic' techniques
The third main Surrealist tendency drew more attention to the materials used by the artist. This tendency survived the break up of the Surrealist movement during the Second World War. It began with the 'automatic' drawing technique practiced by Miro, Paul Klee and Andre Masson (b 1896). The line of the pen or other instrument was allowed to rove at will without any conscious planning. Masson tried to achieve the same sort of result in painting, by drawing a mass of lines in an adhesive substance on the canvas, adding color by coatings of different colored sand. After the end of the Surrealist epoch, this approach was carried into painting in New York by Arshile Gorky (1904-1948), the 'white writing' paintings of Mark Tobey (1890-1976) and, above all, the vast abstractions of Jackson Pollock <http://artchive.com/artchive/P/pollock.html> which contain a strong element of drawing with paint while the artist was in an ecstatic trance.


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内容这么多，你至少自己弄个草稿我们帮着修改也行啊。否则这么多内容，怎么帮你啊。

达利和真正的超现实主义
超现实主义的第2个趋势,有的时候也被称为真正的超现实主义,它运用一丝不苟的来清楚的描述事物,时常是大手笔的去描绘一些与世界相类似的梦幻国度.早在1929年人类在进入超现实主义的乐章和对de Chirico超现实超自然绘画有所反应之前,（达利）便已经大力的崇尚那些掌握细节的艺术家,比如: Ernest Meissonier (1815-1891)和 Pre-Raphaelites.他自身手法的延续就是崇尚的一个反映达利对超现实主义的重要性在于他所发明的他自己的心理学技术，他把这一种方法称之为偏执狂.他故意制造一种与那些偏执狂者相类似的错觉,从而用他蓄意的思维将这些可以引起幻觉的图像进行扭曲.达利的这些绘画，his bent watches, his figures, halfhuman, half chest of drawers使他成为所有超现实主义画家中最出名的，1937年当他改变为一种学院 风格的时候Breton 将他从运动中驱除出去，
Rene Magritte(1898-1967)的超现实主义绘画用强有力的奇异并列结合对人和事物的描述,但仅是种通俗的物理绘画技术.这些成效质疑着平凡的真实,建立在以前,和现在的超现实理念之上.这些单个的并列被英国的绘画家dward Wadsworth探索,在他的作品中,他用蛋彩画成功塑造了梦一样的透明.超现实主义和 Paul Delvaux (b 1897)真正的超现实主义,在攻击中赞同欲望,在这些作品中,女性出现在高贵建筑寒冷的环境中,,引发对性的幻想.
真正的超现实主义以他的作品Yves Tanguy被划分如第2个主要的形态. Tanguy从思维没有意识的那个层面,详尽的描述虚构的事物,从而制造一种朦胧视觉.他们没有奇异的并列.它是个自我融合的世界,在一个梦中,以自己的一种术语来自我说服..在真正的超现实主义的作品中.,画的表面是平整,光华的.欣赏着尽量不被记起幻觉是有涂料所产生的,从而,幻觉效果被更好的增强了.自动机械技术超现实主义的第3个趋势把注意力放在艺术家所运用的原料上.趋势是在第2次世界大战中超现实主义运动的瓦解中幸存下来的.它以Miro, Paul Klee 和Andre Masson (b 1896).所运用的自动机械绘画技术所开辟.钢笔的线条和其他工具被允许随意的,没有意识的进行涂抹. Masson试图在绘画中达成相同的效果,通过在帆布上用大量的线条和粘稠物质作画,并以不同颜色的沙砾涂料来增加色调.在超现实主义的末期,这种手法被纽约的Arshile Gorky (1904-1948)引用进油画中,诞生了'white writing' paintings of Mark Tobey (1890-1976).最终, Jackson Pollock的大量提取,
看看有人帮着修改一下吧

[quote]下面是引用秋之湖于2006-01-10 20:49发表的:
达利和真正的超现实主义
超现实主义的第2个趋势,有的时候也被称为真正的(写实的）超现实主义,它运用一丝不苟（细致详尽）的来清楚的描述事物,时常是大手笔的去描绘一些与世界相类似的梦幻国度.早在1929年人类在进入（开始）超现实主义的乐章（运动）和对de Chirico超现实超自然绘画有所反应（反响）之前,（达利）便已经大力的崇尚（推崇）那些掌握细节（运用细节）的艺术家,[quote]

太累，专业性太强。就弄到这了。不懂。

好强啊

先用工具软件大体翻译，
然后再修正细节。。

那还不得全改？
不如一个个查字典呢