Neil Matheson - Surrealism and the Gothic: Castles of the Interior

English translations have been used where available and are referenced to those sources. Where not available, the translation is my own.

Series Editor: Gavin Parkinson, The Courtauld Institute of Art

With scholarly interest in Surrealism greater than ever, Studies in Surrealism serves as a major forum for key areas of inquiry into the activities of the Surrealist movement. The series extends the ongoing academic and popular interest in Surrealism, evident in recent studies that have rethought established areas of Surrealist activity and engagement, including those of art, politics, the object, exhibitions, photography, popular culture, crime and science. Expanding and adding to existing lines of inquiry, books in the series examine Surrealisms intersections with philosophical, social, artistic and literary themes.

For a full list of titles in this series, please visit https://www.routledge.com/Studies-in-Surrealism/book-series/2123

Appropriated Photographs in French Surrealist Periodicals, 19241939

Linda Steer

Angela Carter and Surrealism

A Feminist Libertarian Aesthetic

Anna Watz

A Surrealist Stratigraphy of Dorothea Tannings Chasm

Catriona McAra

Surrealism and the Gothic

Castles of the Interior

Neil Matheson

Remaking the Readymade

Duchamp, Man Ray, and the Conundrum of the Replica

Adina Kamien-Kazhdan

Andr Breton in Exile

The Poetics of Occultation, 19411947

Victoria Clouston

Surrealism, Occultism and Politics

In Search of the Marvellous

Edited by Tessel M. Bauduin, Victoria Ferentinou, and Daniel Zamani

Many of the ideas that figure here were first developed in papers that I presented at the conferences held regularly on surrealism in the appropriately gothic ambiance of West Dean in Sussex a crenellated faux castle that mirrors the central motif of the book itself. Im extremely grateful to Sharon-Michi Kusunoki for hosting those events, as well as to all involved in their organisation, including Dawn Ades, David Lomas and others. I also benefitted hugely from conversations there and would particularly like to thank Ian Walker, Charlie Miller and Jonathan Eburne among many others. Thanks too, to Fae Brauer and Linda Dalrymple Henderson, for providing the opportunity for me to present a paper on magic at AAH2015, as well as to Tessel Bauduin, who presented on the same panel. Patricia Allmer has been generous and supportive in transforming research into publications and Im also very grateful to Gavin Parkinson, the series editor, for his consistent support throughout this project. I would also like to thank Roger Cardinal, who supervised my thesis another of the sources of this project and who provided insightful comments on a chapter of the book. I also have to thank anonymous peer reviewers for their detailed and helpful feedback on early drafts of the book. Notwithstanding such an abundance of support, the shortcomings Im afraid, are entirely my own.

Much of the research was carried out in Paris, where Im grateful to staff at the Bibliothque nationale, the, Bibliothque Sainte-Genevive, the Bibliothque littraire Jacques Doucet and the Piti-Salptrire Hospital, while in London Im grateful for support from the British Library, the Senate Library and the Hyman Kreitman Research Centre at the Tate. For help in sourcing images Im extremely grateful to DACS/ADAGP, the British Library, the BnF, the Muse dart moderne et contemporain de Saint-Etienne Mtropole, as well as to Anne-Catherine Biedermann at the Runion des muses nationaux, and to Amalyah Keshet of the Israel Museum, Jerusalem. For the work of Baskine Im very grateful to Elodie Cortes at the Muse dart moderne et contemporain de Cordes sur Ciel, while for help with the work of Tromelin I owe thanks to Vincent Monod of the Collection de lart brut, Lausanne. Im very grateful, too, to Ordo Templi Orientis , who were extremely helpful with the artwork of Aleister Crowley.

In transforming that research into a book the teams both at Ashgate and at Routledge were unfailingly supportive and Im particularly grateful to Julia Michaelis and Isabella Vitti for editorial support, as well as to Denise File for her efficient production of the book. I would also like to thank colleagues in the CREAM research group at Westminster David Bate, Rosie Thomas, Pete Goodwin and others both for supporting the research and providing funding for the images. Thanks, too, to Fauzia Ahmad for her help with the images. Finally, none of this would have been at all possible without the love and support of my family, Bernadette and Ruair. My thanks and gratitude to all.

Human psychism in its most universal aspect has found in the Gothic castle and its accessories a point of fixation so precise that it becomes essential to discover what would be the equivalent for our own period.

Breton, Limits not frontiers of surrealism (1937)