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Romantic Neosurrealism Art Gallery - official website of the famous computer graphic artist George Grie. The gallery presents modern surrealist gothic, inspirational romanticism, digital surrealism artworks, and fine-art paintings. Giclee prints and posters, limited editions, desktop wallpapers, and framed art pictures for sale.
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Inadvertent Metamorphosis or King of my Castle
Kiss of Eros or Angels and Demons
Hammer of God or Inevitability Clockhammer
Gone with the Wind or Sorrows of Love
Ghost ship series: Chasing the light - modern 3d surrealism digital art Print
Ghost ship series: Full moon rising - modern art prints 3d digital surrealism poster
Ghost ship series: Chasing the light
Ghost ship series: Full moon rising
Stairway to Heaven vs. Stairwell to Hell
Led Zeppelin or Graf LZ-42 Excelsior
Derailment or Seemingly Crazy Train of Thought
Lost City of Atlantis or Mystery Legend Atlántida
Ice Age Premonition or Infinite Iceberg Synthesizer - modern art surrealism poster 3d digital art wallpaper
The way out or Suicidal ideation - modern art surrealism prints, 3d wallpaper, digital art poster
Ice Age Premonition or Infinite Iceberg Synthesizer
The way out or Suicidal ideation
Omnipresence or Transcendent Reincarnation
Scream or Self Induced Exorcism
Devil’s Trap or Bermuda Triangle Enigma
The Stormbringer or Existential Awakening
Final Frontier Voyager (FES) The Flat Earth Society - modern 3d surrealism digital art Print
White Castle or Voluntary Incarceration - modern art prints 3d digital surrealism poster
Final Frontier Voyager
The Langoliers or Inevitable Entropy
Rammstein or Neue Deutsche Harte
The Last Wave or Fighting the Giants
Along Ruined Soul, tribute to Zdzislaw Beksinski
Bridges to the Neverland
Panic Attack or Anxiety PTSD - modern art surrealism prints, digital 3d art wallpaper picture
Arrested Expansion - modern neo surrealism calendars digital art 3d wallpapers
Panic Attack or Anxiety PTSD
Arrested Expansion or Cardiac Arrest
In Search of Meaning In Search of Lost Time
The Three Graces: Gods and Heroes series
The Mind Cave or Paranoid non-bizarre delusion
Requiem or Music set you free
The Sand Castle - 3d modern surrealism prints digital art picture wallpaper
Going towards the light - modern art prints 3d digital surrealism poster
The Sand Castle
Going towards the light
Surrealism is often approached primarily as a preoccupation with au- tomatic techniques and the exploration of the unconscious. The results of such investigations tend to neutralize the significance of Surrealist iconography by subordinating it to formal experiment or by assuming it is an expression of unalterable psychic truths. This study begins with the assumption that Surrealist images of Woman were produced nei- ther as formal experiment nor as psychic truth but as things to be used by men for a purpose peculiar to men.

There is no uniform image of Woman in
Surrealist art. The startling variety of apparent female types represented is a sufficient refutation of that notion. Nevertheless, it would not be historically correct to assert with the more extreme deconstructionists of today that all root mean- ings are transcendental — that is, that one cannot fix the particular mean- ing of an utterance at the time of speaking. 1 Indeed, the Surrealists may not have had a single definition of Woman, but they certainly subscribed to a temporally and ideologically limited set of conventions that anchored the shifting parameters of meaning in spite of all their claims to liberation.

The mechanics of this unbidden construction or determination of Woman can perhaps be best understood first by allusion to Chomsky's concept of generative-transformational grammar. Chomsky proposed that all competent speakers of a language have intuitively learned a set of simple archetypal sentences which serve as a deep structure, a frame- work of sorts that allows speakers to generate entirely new sentences through a group of transformational rules. The new surface structures thus remain meaningful to other speakers, despite their unfamiliarity and novelty. 2 It is only the surface structure of the male vision of the Surrealist Woman that is apparently infinite. The deep structure is composed of a surprisingly limited set of propositions, most of which are descendants of cultural — that is, unnatural, learned, or socially encoded — misapprehensionsabout what Woman is and wants. All of these are complicated networks of allusions and connotations which can be understood as a horizon of expectations determined by identifiable historical and cultural conditions.

The literary theorist Hans Robert Jauss developed the notion of the horizon of expectations to indicate that a text will have meaning to a particular set of readers in a given social formation, even though it may have no ultimate, absolute, or objective significance. The meaning — a kind of implicit contract between the reader and the text — is spun upon the aesthetic, economic,linguistic, moral, political, and other values brought to it. Jauss called his theory a reception-aesthetic because meaning is conceived of as a function of the ways in which a text is received. This idea alone, without its subsequent critical embellishments, is very close to the Surrealist attitude in its original context, which also placed the final responsibility for meaning on the shoulders of the onlooker, not the author. One writer, closer to the Surrealists, put it this way:

Comments to this effect can be found in nearly any Surrealist's biography, allowing what appears to be a remarkable freedom of interpretation. A notable example was the investigation entitled "Sur les possibilit6s irrationelles de pntration etd'orientation dans un tableau Georgio [sic] de Chirico:"L'nigine d'une journe (11 fvrier 1933), in which a number of respondents wilfully read completely unanticipated meanings into a painting. 5 Yet the range of their responses was disappointingly limited. Undoubtedly, this was partly due to a number of leading questions, but it is just as certainly due to the fact that the respondents were also Surrealists, constituting too narrow a sample for the investigation to have any statistical value. This is not to say that the men were all of one opinion. Andr Breton, for example, was appalled by brothels, whereas Louis Aragon loved them. 6 Nevertheless, they were all partly formed by conventions and cultural fashions that were widespread in both bourgeois society and its antitheses. Not the least of these was that pride of place was given to men within Surrealism, so the Surrealist horizon of expectations exhibited a significant degree of uniformity.
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