Chapter 56 III Montparnasse, the open city (2)-2

I think he is one of the greatest artists of our time and I have never seen anyone else equal to Soutine except Goya. Sana Orlov "He (Barnes) bought dozens of my works and paid $3,000," Soutine said. "I also paint, let me show you my paintings." Kiki said. "Besides," the Lithuanian replied, "my work is priced at the equivalent of a Bugatti (1881-1947), native to Italy, car manufacturer. Saloon. Today, one of my paintings sells for Ten thousand dollars!" Kiki opened his eyes wide and stared at Su Ding intently.He is far from the man he was in the days of the war against the bugs.Back then, his studio was infested with bedbugs: there was nowhere in the room that was even slightly warmer.So the bedbugs hid in his pillows to keep warm; he often had nothing to wear, no clothes, no food to eat, and when he went out, he only put on his coat over his naked body; Use the trouser legs of the shorts as a shirt.

Soutine suffered more than anyone else.He is still dissatisfied with his life today, he is very nostalgic and misses his hometown: now he cannot eat the food he used to eat as a child, and often dreams of delicious meals from home, herring, sauces... But he's changed, he's not what he used to be, he's unrecognizable.In the past, as an immigrant, he either stayed behind closed doors all day, or hid in the most inconspicuous corner of Luo Tongde to learn French.Today, he wears a floral shirt and the bright tie he used to dream of.In his earliest dealings with Barnes, he was asked one day by an American collector to accompany him to a high-end emporium selling silk ties in Place Vendôme.The collector bought three dozen ties in one go, and the ragged artist stared at him enviously, never thinking of gifting him one.This incident made Su Ding feel extremely insulted.

Since then, Su Ding has been bent on revenge.Now, not only was he able to go to the Place Vendôme and buy whatever he wanted, but he could also wave before him his beautiful, balsam-rubbed hands.His fingernails are no longer stained with paint: he used to throw away his paintbrush because of anger, and use his palm and fingers as a drawing board and brush to create.His black hair was shining because he asked a little girl from a poor family to wash and dye him with perfumed ointment on a regular basis.He even has a car and a driver - Dane Roller - at his disposal.He told Kiki that none of this belonged to him, but to Leopold Sporowski, who had made his fortune with Barnes and Kicky.American Barnes went to Joseph Barra Street to see Soutine's works.Every time the Polish Leopold Sporowski took out a painting from under his bed, the Americans shouted in amazement: "It's great! It's beautiful!"

Since then, Leopold Sporowski has opened a gallery on the rue de Seine, exhibiting works by Utrilleau, Derain, Vlaminck, Kisling, Dufy and Frieze.He also had a house in Rue d'Andre, where his painters and female partners, such as Paulette Jourdain (who sometimes posed for Soutine and Quisling), used to meet him. When Soutine wanted to go to the Mediterranean, he called Darnerol.He slept in the backseat of the car overnight and was at the beach the next day.He doesn't like Paris, he avoids the acquaintances he doesn't want to see all day long, he doesn't want to go to the places he used to go to, he is afraid of touching the scene, recalling the miserable life in the past; he criticizes Modigliani, in fact, this person is the only people who supported him during the period; he was angry with Eli Faure, but the man who wrote the first book about him; Maurice Sachs published articles in praise of his work, and he met the man He didn't even say hello; when the customers in the tavern recognized him, stood up, and came to talk to him, he was very rude and said listlessly: "I don't know you."

When the other party insisted that he knew him, he said, "I've never seen you before." He left the table and walked away. Su Ding's arrogance made him suffer a lot, and even almost made him miss the chance to meet the Kastans.For him, the Kastans were as important patrons as Barnes. The Kastans lived in a castle near the city of Sarthe, about 150 kilometers southwest of Paris.They love painting very much.Marcelan Castan works as the editorial secretary of a magazine and is also in charge of the magazine's art column.He often went to Montparnasse to meet artists. One night not long before Barnes returned to Paris, Marcelan went to Luo Tongde accompanied by his wife Madeleine.Soutine happened to pass by there.A painter suggested that the Kastan couple buy a painting by Soutine. He said: This Russian is penniless, and it is very difficult for him to even eat.So, the Kastans called Su Ding to stop.Marcelan asked to see his paintings.Soutine and they were scheduled to meet in the back hall of a pub on First Battle Street, but he arrived late with two paintings in his hand.The Kastans took a quick look in the dark, suggested to come back the next day, and gave him 100 francs as a deposit.Su Ding took the money, tore it into pieces, threw it away, and said, "I'm not a beggar! You don't even look at my work, just give me money! I don't beg!"

He lost his temper.The Kastans had to leave. A few weeks later, Soutine exhibited his "Tomato Chicken" in a gallery near Madeleine. The Kastans wanted to buy this painting, and they found Soutine's art dealer Sporowski.But he had no right to sell the painting because it belonged to Francis Calco.Sporowski did not say that Soutine's painting was worthless in the past, and he had given it to the writer Calco instead of selling it. The Kastans insisted on buying.Sporowski had to go see Calco.The latter returned the painting to him very politely and did not accept the payment from the Polish art dealer.So, Kastan bought the painting.From then on, they often came to the painter's studio, staying for as long as ten hours, and bought his works one after another.

Later, Soutine often went to the Kastans' castle as a guest, staying for several weeks.The couple who generously supported Su Ding loved the painter, especially the hostess Madeleine, who also served as a painting model for the painter.She is obsessed with this man's tenacity: the indescribable strength and energy in him; his tenacious fighting spirit to save himself; When creating, the brush does not slide in parallel when it moves on the canvas; he kneels on the ground and begs a laundress who acts as a model for him to restore the original expression; Defects; when creating, he asked for absolute silence around him, no one could approach him, and he was not allowed to talk to him; when it was dawn, he got up and asked to get the car ready as soon as possible, and immediately took him to the market to buy fish, and only fish, because he to draw fish; and one morning he begged the Kastans to accompany him into the fields, where he had once seen a very handsome horse.They saw the old horse.Skinny and muddy, it was pulling a cart for a busker on the street.

"I want to draw it!" Soutine said happily. He circled the horse excitedly.Marcelan Castan began negotiating with the street performers.The entertainers agreed to stop by the Kastans' castle on the condition that they would be provided with food and drink.After the entertainers settled down on the castle lawn, Soutine led the scrawny horse away from the crowd, and then he painted a masterpiece. Soutine is incredibly strict with himself.He never participated in group exhibitions, for fear of being overwhelmed by other artists.Whether it is his own, the Kastan couple's or any painting of his relatives and friends, as long as it is not well received by everyone, he will not hesitate to tear it up.

According to Man Ray, Soutine used to dream of seeing the sea.After Barnes bought his painting, Soutine was thrilled and completely intoxicated.He hailed a taxi that took him directly south, to Cellet in the Oriental Pyrenees, and later to the sea in Cagnes-sur-Alpes. Two years after returning to Paris, he systematically destroyed the paintings he created in the South: he burned as many as he saw at his dealer Leopold Sporowski; Just go buy them all back or trade in the old ones for his newest creations.After transporting them home, they were all cut out; sometimes he stitched some of the torn and cut pieces into new works, but most of them were thrown into the trash.Except for his driver Dane Rolle who sometimes picked up some of the fragments he threw into the trash can and gave them back to Sporowski, the rest were all recycled by some painting amateurs and given to a tavern owner on Rue Mazarin, Jacques.After the boss stitches them into new paintings, these amateurs sell them to galleries.

At first he only destroyed the works he created in Celette, and later other works could not escape the same fate.Whenever Soutine came to the home of the art dealer René Gamperle, the art dealer would hang Soutine's paintings on a high place, and he must not be allowed to stay alone in the gallery where his works are displayed. Soutine destroyed all his paintings, including fake paintings with his signature, paintings he made in all the places where he lived. By 1925, the only painting he liked was his "Dead Cow" (Fig. 59).It was a work he experimented with in his studio on St. Gotard Street.When he lived in the castle of Castan's family, he often went to the vegetable market around the castle or the nearby farms.When I come back, I often bring some chickens, ducks, turkeys or rabbits that have been slaughtered or spoiled in storage.He hung them on hooks and painted them on canvas.But cattle are another matter.The cattle painted by Soutine are the result of imitating the style of Rembrandt that he admired very much. It is also the result of Soutine's childhood seeing the butcher in the village butchering livestock, and being locked in a cold storage and beaten severely. The result of being forced to paint something that defies traditional ideas.In the following passage he quite clearly admits how his cows were drawn:

As a child I watched the village butcher grab a bird, chop off its head, and drain the blood.I was in so much pain that I wanted to yell loudly, but when I saw the butcher was very happy, my yell was suppressed in my throat and I couldn't release it... But I still felt that the yelling was blocked and I couldn't breathe.When I once painted a portrait of insulting teachers, I tried to let this cry out, but I still couldn't.However, when I painted "Dead Cow", I finally released the cry that had been suppressed in my throat. [Excerpt from the book "Soutine and His Time" by Emil Sgitja, published in 1955 and preserved in the Art Library] Soutine went to Villette on the outskirts of Paris to buy a slaughtered whole cow, and when he came back, he hung it on the beams of the studio with some iron hooks.For a long time, when the cattle began to deteriorate and rot, Paulette Jourdain, who was as loyal to Soutine as Sporowski, went to many slaughterhouses to find rotten cattle smeared with blood in order to keep the cattle skeletons brightly colored.Before painting, Su Ding sometimes helped her use a brush to brush the blood she found on the rotting muscle of the dead cow. Soon, there were more and more flies, but Su Ding turned a blind eye to it; the stench was getting bigger and bigger, and the neighbors complained one after another.One morning, people from the city government's health department came to the door.Soutine, who had always been afraid of officials in uniform, went into hiding.So only Paulette Jourdain came forward to explain the reasons for keeping the dead cows indoors.She succeeded in persuading these city employees to disinfect the studio.They also explained to her how to avoid the decay and stench of the carcasses.In fact, the problem is very simple, just inject some ammonia liquid into the dead cow. Since then, Su Ding has always carried an injection box with him wherever he goes.Whenever he came across a dead animal, he would inject it with ammonia and bring it home for his painting specimens. Kiki wanted to express her love for Su Ding very much, but she didn't say it.She knew that Su Ding was no longer alone as before.He rediscovered a sweetheart of his youth - Deborah Melanick.It was rumored that they had held a religious wedding and had a girl, but Soutine quickly terminated their marriage.When people mentioned his daughter to him, he said he didn't have one and immediately changed the subject.He doesn't want to know anything, but there's no past being unreasonable.From then on, there was always a woman by his side to accompany him. In 1937, he fell in love with Gerda Grote, a German Jewish immigrant and socialist.He nicknamed her "Miss Nurse."Because shortly after they met, he suffered from acute gastric ulcer.Grote watched over him all night when he was bedridden.Soon they lived together in Sauras, Yonne, Burgundy.During the war, they returned to Paris together. In 1940, Grotte was imprisoned in a concentration camp; in 1943, she miraculously returned to Paris.During this period, the Kastans introduced to Soutine a smart, beautiful, but also very willful woman-Marie-Bette Orance at the opening ceremony of an art exhibition.She had been Max Ernst's second wife.From then on, she became Soutine's last companion. During the German occupation of France, the Gestapo had been hunting down Soutine, a stateless Jew.In Paris, he went out as little as possible.In case of going out, he always pulls his hat very low, almost over his eyes, thinking that this way he will not be recognized.He couldn't eat anything else, he only ate mashed potatoes and vegetable soup every day. He was skinny and frighteningly thin, and he lost a lot of hair.To protect his hair, he cracked an egg on top of his head, buttoned it like an egg pancake, and then put on his hat. He ended up hiding out at the house of a friend of Mary-Bette Orrance's in Botanic Gardens Street, only at night.After the gatekeepers denounced him to the occupying authorities, he fled to Sambiny in the Androis.Marie-Bette Orrance led him from hotel to hotel, until they found a secluded house and settled there.But Su Ding's body was already very weak at that time. In August 1942, his stomach problems became more and more serious, and he suffered from gastric perforation, so he was sent to Wesfarmers Hospital.He begged the doctor to operate on him immediately, but Marie-Bette refused, insisting that she go to a hospital in Paris and find a specialist to operate on him.They hired an ambulance.Marie-Bette Orrance wanted to go back to her residence to pick up his paintings and bring them back to Paris.She called for an ambulance to return to Zambini, then went elsewhere to pick up the rest of the paintings.As a result, there was a twenty-four-hour back and forth delay.When they finally arrived in Paris, Soutine had a massive perforation in his stomach. The operation was performed on August 7, 1942, and at six o'clock in the morning on the 9th, Soutine stopped breathing.The number of artists who went to the funeral was pitifully small, but among them were Picasso and Max Jacob, who had not yet gone to the concentration camp.He was buried in the Montparnasse cemetery.Parson and his women had been waiting for him there for twelve years. The land on which Sam Soutine's grave belongs to the Aurance family.There is no Jewish pentacle on his tomb, but a Catholic cross.While unconscionable, it is by no means unique.The inscription on his tombstone not only got the date of birth wrong, but also his name...  … Then something strange happened, which at first hardly aroused the vigilance of the family, until one day some extreme behavior occurred in the public, and people didn't know that he was a poet. Louis Aragon One morning in July 1925, the literati gathered again at the Lilac Garden Tavern.This is the farewell banquet held by the "New Literature" magazine for the Catholic symbolist poet Saint-Pol Roux to retreat to Camarai in the Finistère department in western France.The Surrealists were all invited, since the New Literature magazine had a special issue dedicated to the poet Saint-Pauer Roux, and the Surrealists all seemed to have put a lot of work into the publication of that periodical .The surrealists believed that Saint-Paul Lux belonged to the symbolist poets represented by Mallarme, and they all forgave him for his stubborn religious concepts.André Breton's inscription to him was "the sensible man in the world".Twenty years later, in his article "The Communist", Aragon expressed his deep respect to this man he called "a very great man". Breton and his friends were present at the farewell feast.In addition to them, those who attended the party were Luné Poe, the theater owner who performed "Ubu King" in Jarry.Breton accused him of having been employed as a counterintelligence agent by the counterintelligence agency during the war.The banquet was presided over by Ms. Rahilde who was seated on the rostrum.Breton later admitted: "A few words from the rostrum (Ms. Lahield) made us all fly into a rage." ] The nerves of everyone present immediately tensed up.People's fury should not be attributed only to the presence of literati at banquets, which the Surrealists simply ignore.Another main reason is: not long ago, the French ambassador to Japan, His Excellency Paul Claudel, made a statement to "Comoedia", saying that the essence of surrealism and Dadaism is "masculine homosexuality". Recalls his great exploits during the Great War: he bought meat from Latin America to feed the Allies.The good-for-nothings of Surrealism took advantage of this noble gathering to exact their revenge on the Ambassador.They distributed a large number of blood-red leaflets with the smell of blood, which read as follows: Only one morality stands, namely, that one cannot be a French ambassador and a poet at the same time.We take this opportunity to declare publicly that we have broken, in thought and in action, with all that is French.We hereby declare that the act of serving the interests of a country that sells pigs and dogs is an act of betrayal and an act that endangers national security... We will always regard you as a pedant and a rogue villain, and we will not hesitate to damage your reputation. [Excerpt from The Adventures of the Surrealists, Jean-Jacques Brosier, 1977] The atmosphere at the banquet was tense to the point of breaking out.As long as there is a little spark, it will cause an explosion.During the period when Dadaism was in vogue, Ms. Rashid called on these warriors to attack the carefree fortress of society and encouraged them to correct the younger generation who put everything in their eyes.At the banquet that day, her speech fueled the fire and caused conflicts.Because she repeated the anti-German remarks she had already expressed in an interview a few days ago: "No French woman should marry a German!" Her voice was not loud, but everyone heard it.This remark happened to touch on the most sensitive issue of the Surrealists - Germany.As Aragon said, the Surrealists often helped France's enemy - Germany, especially after the signing of the Treaty of Versailles and the Allied occupation of the Ruhr River, even after Rosa Luxemburg (1871-1919), One of the leaders of the German Social Democratic Party and the Left of the Second International.Founder of the Communist Party of Germany. Killed by the reactionary Albert government on January 5, 1919.And after the murder of Karl Liebknecht, they continued to help the enemy as always.Another reason is that Breton stood up and said very calmly: "Madam, your speech is to our friend Max Ernst (1891-1976), a French painter with German ancestry. The founder of the Cologne Dada movement in Germany. One of the founders, one of the main exponents of Surrealism. A great insult." Max Ernst echoed his boss's opinion.Whereas Breton was disappointed by Germany's defeat, Ernst was proud of France's victory.All of a sudden, the venue of the banquet was blown up. Unexpectedly, an apple flew from the air and hit Breton's body, and then the second and third, Breton threw a napkin in the face of Ms. Lahielde, and shouted: "Female bandit! " "She's slandering us!" one attendee scolded fuelingly. St.-Pol Roux tried to persuade both sides, trying to calm the situation, he shouted: "Okay, okay. You can't treat a lady like this, we should be polite!" "Politeness? What kind of politeness? We must retaliate!" As a result, the whole hall became chaotic.Juicy fish, vegetables, plates, saucers, wine and glasses flew through the air like cannonballs... Philip Su Bo jumped up with a "whoosh", grabbed the chandelier bracket fixed on the roof with both hands, suspended his body in the air, and swung his legs to block the "stray bullets" flying in the sky.Louis de Gonzag rushed out from a nearby compartment and joined the ranks of the opposition to Surrealism.André Breton smashed the glass with his fist, opened the window, and saw a large crowd gathered on the sidewalk.Max Ernst synthesized a megaphone with his hands and shouted: "Down with Germany!" "Down with France!" cried Michel Leiris in answer to him. "Long live China!" shouted a third. "Rifains, a tribal people in northern Morocco. Long live!" Someone shouted, meaning to remember the Berbers who revolted in Morocco. Among the crowd gathered on the sidewalk, a woman casts a glance in the direction of the window.She is Russian, under 30 years old, and her name is Elsa Triole.Through the opened window, she found a beautiful man in a dress who was quiet and polite. In the chaos of yelling and fighting, he kept a very calm attitude. The man didn't notice her.He stands out from the crowd, and before long he turns away, reaching out to block a handful of bananas flying towards the table.Triole asked a man next to her who it was.Obviously, no one knew him.She found a bench on the curb of the Rue Saint-Michel, and when she got on the bench and continued to look at the position, the man had disappeared.She continued to search, without any results.So she got off the bench and left.Her heart seemed to be taken away by this person, and she knew that what she saw just now was the sweetheart she had been looking for for a long time. In the Lilac Garden Tavern, Saint-Pol Roux was still trying his best to persuade everyone to calm down amidst the chaos.But nothing works.Michel Leiris came to the window again and shouted: "Long live Germany!" People gathered on the sidewalk ordered him to come down and explain his reasoning.They beat him half to death, and the police who arrived in time took him to the police station, where he was locked up and beaten again.Fujita believes that Robert Desnos found the back door of Edward Elio in the police station and interceded for Michel Leiris.He was released by the police station. The Lilac Garden scandal had a huge impact.The next day, the news media unanimously condemned the Surrealists, calling them the "terrorists of the Avenue Montparnasse."The Literati Association, the Combat Writers Association and the "French Action" newspaper called on all news media to stop letting the names of these dangerous elements appear in the newspapers, so as to cut off all ties between them and the public. This is not the first time that troublemakers have caused trouble in the city of Paris.But in Montparnasse, especially at the Lilac Garden, fights between poets, painters and writers for reasons other than art have never happened before. André Breton also admitted: "The event of the farewell banquet for St.-Pol Roux is important because the Surrealist school broke completely with other schools of thought of that era." On the morning of the farewell banquet, Breton and his friends joined an organization against the Moroccan war and were preparing to send French volunteers to fight against Abd-el-Krim (1882- 1963), leader of the Moroccan nationalist movement.struggle.After the scandal that rocked the Lilac Garden Tavern on this day in July 1925, a new social phenomenon emerged.The French poet Paul Fore and his ghost-like companions who recite poems, paint and laugh all day long have disappeared.Under the influence of the Surrealists, Montmartre and Montparnasse were about to change history again, and the poets were about to discover a new era: the political era. venue for the surrealists Our Lord, you are in heaven, please be there. Jacques Prevet There are several venues for the surrealists: several pubs, Breton's house, and Chateau Street in the 15th arrondissement of Paris.But these gentlemen (with the exception of Simone Breton, there were very few women among the Surrealists, and they were often silent.) The favorite place to go was the bistro.They don't meet at the bar, always at the back of the tavern.They booked all the positions in the hall.Just like going to work, they arrived on time at six o'clock in the evening.Then they started dating, playing tarot cards, poker or engaging in quiz games (this is a game of answering unknown questions); some people also conduct investigations among these people, especially often mentioning some sexual or personal information to them. privacy concerns.Such issues often cause conflicts and create a tense atmosphere; participants often analyze, comment on news reports in the press, domestic and foreign situations, and surrounding events.All this is rarely done in peace, friends invite each other to gather here for a few drinks at noon or seven in the evening, and applicants to the faction are sometimes vetted and tested here. Breton was never absent, and Aragon was almost never absent.The two of them have their own characteristics. The former has a violent temper and is violent when he moves; the latter is gentle and dignified and calm. Breton, the originator of the "Surrealism Manifesto", only has infinite reverence for him (Aragon), and he is only polite when talking to him. They love color, so drink pomegranate juice.They drink whatever wine name they like. They always implement an unshakable rule when dining: implement the AA system, and each person pays his own bill.When Breton auctioned off Carnville's collection, he bought a large number of paintings at low prices.When needed, he sold some at the right time and in moderation.So he is richer, and he often worries about other people's lack of money.Paul Éluard is also rich, and has a lot of money. Unfortunately, he is the only one who is as rich as him.Therefore, whenever they eat together, they must choose a restaurant that everyone can accept. They have another rule: the officers must be conscientious.Aragon is unwilling to accept the rules and regulations set by Breton, and is more willing to hang out arm in arm with Nancy Gunnar, which people can't understand.Ai Luya often happily showed Gala's nude photos to the people around her. People verbally agreed to see them, but they always found various excuses to politely refuse to be present.It was clear that he liked Gala, and Gala loved him, but she loved Max Ernst just as much.And Ernst loves Gala, but also likes Ai Luya.As long as others don't interfere with his interests, Ai Luya doesn't think there is anything wrong with this love triangle.But in any case, when Breton organizes a party, no one can be absent under any excuse.Especially when there were repeated absences, their commander in chief, the "pope" of the entire assembly--burly, straight-backed, darkly dressed (dark green), and curled back hair--he looked majestic, He scanned the entire venue with his unique sharp eyes, counting the number of attendees and absentees.Seeing a woman approaching, he rose, and very politely kissed her hand.So, kissing hands later became the internal rules of the surrealists. In what tavern did they meet chiefly?During the Dada movement, the predecessor of surrealism, "Sours (Source: meaning spring water)" on Saint-Michel Avenue.It is not far from Waldgrass, where Breton and Aragon are located, and the "great man" hotel where Breton lived.It was in "Souls" that Breton asked his best friend Aragon to recite two sections of the book "Magnetic Field" co-authored with Su Bo. (The magazine "Literature" published the first three chapters of the book.) Here Breton, Charat and Aragon received applicants to join their movement, as well as their friends such as Marcel Duchamp, Max Lester, Jean Arp and the young, beautiful and always passionate rebel René Crevel. The Celta Tavern offered Aragon the means to earn money in a difficult situation: at one time, Aragon was penniless, and his friend Philippe Suppo asked him, struggling in despair, to make an appointment for the Journal of Europe. A manuscript, because Su Bo was the head of the editorial department of the magazine at the time.Aragon wrote this article in the Celta Tavern, and this article was included in Aragon's "The Peasants of Paris". In the 1920s, after Breton moved to Fountain Street, the headquarters of the movement he founded was initially located in his home, and later moved to the 18th arrondissement of Paris, until 1929 Salvador Dali (1904-1989), Spanish painter and writer. Member of the Surrealist movement from 1929 to 1939.And Bunuel Louis Bunuel (1900-1983), a Spanish film worker, is the most important representative of surrealism in the film industry.joined the Surrealist movement. After the two of them crossed the Seine and reached the Left Bank, the surrealists often met in the municipal tavern on the Place Saint-Sulpice.From 1928, Man Ray, Aragon and Desnos and their followers returned to the chateau restaurant in Montparnasse, as did the painters.Aalto and many others remain loyal customers of Dom and Lo Tongde.However, all of them often collectively go to the Rue Blomme in Montparnasse, because it is the holy place of the surrealists on the left bank of the Seine. Located on Blohme Street in Waukeela District, there is a brick-and-tiled house rising from the weeds. In 1922, Andre Masson (1896-1987), a French surrealist painter.And Joan Miro (1893-1983), Spanish painter, sculptor and ceramicist.Each lives here.Miró met Picabia in Barcelona, ​​Spain, through whom he also came into contact with French culture.Their chance encounter prompted him to come to Paris in 1919.He met Andre Masson in Montmartre, and Andre Masson was also a friend of Max Jacobs. Masson was wounded in the First World War, leaving serious war sequelae.After the war he spent some time in a psychiatric hospital.After leaving the hospital, life was very difficult. In 1922, Max Jacobs introduced him to Carnville.The German art dealer proposed to him to sign a contract to buy paintings from Masson.It was only after this utterly unexpected boon that he was able to move to the Rue de Blohme with his wife and daughter.Masson's friend Miro moved into the Rue de Blohmer at about the same time, but neither of them knew anything about it. In 1924, Robert Desnos led Breton to meet Masson on Rue Blomme, and Masson took him to meet Miró.When they met for the first time, Breton bought Miro's painting "Cultivated Land" (Fig. 60), and later he bought other oil paintings, and published reproductions of some of them in the magazine "Surrealist Revolution".In his eyes, Milo was undoubtedly his man. In November 1925, an exhibition of works of art was held at the Pierre Gallery on rue Bonaparte.Most of the surrealists were present at the opening of the exhibition: Breton, Aragon, Subor, Éluard, Navier, Vitrac, Crevel (who, after following the Dada movement for a while, Eventually surrendered to Breton), Leiris, Max Ernst and so on.As usual, the surreal opening of the exhibition took place at twelve o'clock in the evening.Miro, who was not opposed to surrealism, was also present, but only on the condition that he was allowed to keep a certain distance from them according to his wishes. Masson was more positive than Miró in his attitude towards the Surrealist movement.He often provided sketches to Breton's magazines, and it was not until 1928 that he was no longer willing to endure the tyranny of the "boss" before alienating him.Like many others, the result of this estrangement was expulsion from the Dada movement. In the first few years, the Surrealists - Leiris, Artaud, Laurent Thiard, Bataille (who was always active in the movement, but did not join the organization), Lambert and Aragon, regardless of their seniority, All to Blomme Street.There they read books and newspapers together, drank happily together, and smoked opium together. 1926年，雕塑家安德烈·德·拉里维利、画家乔治·马尔金那和诗人罗伯特·德斯诺斯也加入了他们的队伍，以同样的热情与他们同饮同乐。 罗伯特·德斯诺斯不再爱泰莱丝·十三，而爱上了一位比利时女演员。她为他唱歌，他向她提供滋补品。德斯诺斯在不睡觉的时候，就去黑人舞厅。他曾经为开办该舞厅做了许多的工作。他也常沿着车站后面的城堡街向上朝蒙巴那斯墓地方向走去，不远处就是原来的玛丽·瓦西里耶夫食堂。他在54号门口停住脚步，伸手推开栅栏。在他的面前，出现了一座二层小楼。过去这里是一个出售兔子皮的店铺。他登上几级台阶，进入了一个十分宽敞的房间。房间的墙上有一幅吕尔萨创作的立体画。地面上到处乱扔着一些从跳蚤市场或者附近的垃圾桶中捡来的破烂东西。 门对面的墙根处放着一套奇怪的家具：很高，带有一个壁橱，一个玻璃缸里装有沙子和一些活的游蛇，一台很不错的电动留声机。在这套家具的上面有一个笼子，里面有一窝欢蹦乱跳的白色耗子。这面墙的外侧是一个凉廊。临时来的朋友就住这个凉廊里。经常来住的人是邦雅曼·佩雷。后来，1928年1月6日到7日，路易·阿拉贡同南希·居纳尔住进了这个凉廊。 这里住着三人。底层一扇门的后面就是他们三人之一的画家伊夫·唐居伊Yves Tanguy（1900—1955），祖籍美国的法国画家。studio.伊夫·唐居伊曾经在他们公用厅的墙上画过一幅血迹斑斑的耶稣像。他在一辆公共汽车顶层发现了德·契里柯的画之后，回来就将这幅画擦掉。从那以后，他放弃了印象主义，而开始创作许多无视传统观念、无视圣像的作品，并且在《超现实主义革命》杂志上发表了它们的复制品。 二层住着另外两个人。马塞尔·杜阿梅尔目前是一家旅馆的老板。因为他是三名住户中最富有的，房子的修缮工程款就由他支付。 这三人当中的最后一位雅克·普雷韦Jacques Prevert（1900—1977），法国作家，超现实主义诗人。当时已经戴着后来成为传奇式的那顶鸭舌帽，嘴角上已经叼着烟头。他经常写电影剧本，但没有人要。他同德斯诺斯合作创作歌曲，并建议基基唱。基基认为这些歌曲不适合她，也不愿意接受。 他在朋友们演出的电影中当群众演员。他没有上过几年学，从16岁起就靠站柜台叫卖东西维持生计。他诡计多端：向真的顾客开假发票，把商店里所有的钟表调到在客流量最大的时间同时响起。因为当时他还没有与西蒙娜结婚，他就向在稍远一点儿的地方工作的一位年轻女售货员求爱。但女孩子的父母想方设法保护他们的女儿不受他的侵犯。一天，人们看见他在商店前的人行道上奔跑，两名警察在后面紧追不舍。 他曾经在法国的默尔特-摩泽尔省和伊斯坦布尔服过兵役。在服役期间，认识了他的两位好朋友杜阿梅尔和唐居伊。 一天，歌词的作者雅克·普雷韦在蒙巴那斯的一家酒馆遇见了《身体与财富》的作者罗伯特·德斯诺斯。当时酒馆里有个人大吵大闹，普雷韦正准备狠揍他一顿时，恰好进来的德斯诺斯举起拳头向他打去，保护了那个受攻击的人。在场的弗洛朗·费尔斯见情况不妙，急忙起身介绍他们二位认识。 他们两人收起拳头，紧紧握手。接着，普雷韦就带领德斯诺斯去见唐居伊和杜阿梅尔，他立即就和他们成为好朋友。不久以后，他们发现了他们之间有一个共同点：四人都出生于1900年，他们认识的时候都年仅25岁。 这样一来，常在勃洛梅街和城堡街活动的超现实主义者们会合了。接着，塞纳河左岸的蒙巴那斯与右岸的喷泉区活动的两帮超现实主义者也会合了，并且为他们信奉的理念赋予了一个正式的名称——“超现实主义”。尽管他们的“教皇”布勒东和那些习惯于寻衅滋事的普通成员实践他们共同理念的方式不同，但他们还是一致为这一会合深感欣慰。 我们的大部分时间都在蒙巴那斯这个永久性集市上闲逛。 马塞尔·杜阿梅尔 以普雷韦为首的那帮人，为了显得精神饱满一些，在第一次去见布勒东之前吸了大量的可卡因。因为感觉在城堡街十分自在，所以阿拉贡、凯诺、马克斯·莫里斯、米歇尔·莱里斯等人每天都到那里去。第一天，米歇尔·莱里斯坐得笔直，拿起一瓶金酒，一饮而尽，然后坐得越来越直，越来越沉默寡言，越来越让人猜不透。 后来他经常这样。 邦雅曼·佩雷呢？他一到那里就操起一架手风琴，深吸一口气，双手猛然往两个方向一撑，手风琴突然从正中间断裂成了两块。 后来，他再也不干那样的蠢事了。 《超现实主义革命》杂志第八期上发表了马塞尔·杜阿梅尔拍摄的一幅照片，解说词是《邦雅曼·佩雷谩骂神甫》。这样，就产生了佩雷最喜爱的体育运动是追逐神甫的笑话。当时，他们陪同普雷韦夫妇去接唐居伊夫妇，他们将一起赴马松在尼斯附近萨那利的家度假。马松不久之前在那里租赁了一座房子。他们乘坐的汽车在快速行驶，车窗敞开，佩雷边开枪，边吼叫驱赶着沿途的行人，其中有一位教士。佩雷手枪不离身，而且到处滥用，一点儿不比二十年前的阿尔弗雷德·雅里逊色。 马松十分了解佩雷的过激行为。在他搬家到勃洛梅街之前，佩雷每天到画家在塞居大街的家看他。在半个月之内每天重复发生同样的事情：佩雷每次从一家底层敞开的窗前经过，恰好看门人和他的妻子及孩子正围坐在一桌热气腾腾的餐桌前吃午饭，饥肠辘辘的他每次都从窗口探头进去，向一家人提出同样的问题： “这一盘盘的屎好吃吗？” 他有一次甚至两天滴水未进了。 在忍了两个星期之后，受到挑衅的家庭忍无可忍，奋起反击了。当佩雷又出现在面前时，看门人用力地清了清嗓子，小声地嘀咕道： “该死的德国鬼子！” 然后猛地把窗户关闭，以免挨打。 佩雷十分欣赏布勒东，而布勒东也为此十分感激佩雷。佩雷拥护布勒东的一切思想和行为，时时处处为他辩护。只有每当根恩巴赫神甫坐到布勒东身边时，佩雷就立即站起来，扇他几个耳光，神甫只能离开。布勒东当时正在劝说神甫加入超现实主义运动，但他对佩雷毫无办法，他的这位最忠实的信徒根本不听从他的任何劝告。很久以后，佩雷向他人承认说：“根恩巴赫加入不加入超现实主义运动跟我有什么关系。”这位神甫爱上一个女演员，常身穿长袍到“赛马师夜总会”跳舞，常到罗童德喝酒，逛窑子。当他身无分文的时候，就退避老家——卢瓦尔河沿岸的索莱斯姆……但道貌岸然的他仍然是神甫。《超现实主义革命》杂志第五期上登过该神甫同一个情妇小姐的一张照片。佩雷无权阻止杂志做什么，于是他在大街上予以报复。每当他在街上瞅见穿教士长袍人的影子，就怒火中烧，免不了冲上去教训他一通。这类过激行为发生的时候，经常同佩雷在一起的普雷韦也不阻止，他从心底里赞同其朋友的做法。 一天晚上，布勒东和城堡街的超现实主义者们一起在克里西大街的人行道上等着电影院开门。街上闲逛的人熙熙攘攘，天下着雨，行人人手一把雨伞。布勒东特别讨厌雨伞，尤其是当雨伞挡住了他去路的时候。此时，怒不可遏的他抓住一个路人的雨伞，双臂一伸，不费吹灰之力将伞折成两节。普雷韦看见很好玩，也学着他的样子折断了另一行人的雨伞。德斯诺斯也不甘落后，折断了第三个人的雨伞。接着，佩雷、唐居伊和杜阿梅尔边走边夺过行人们的一把把雨伞，全部照此办理……群众被激怒了，责骂与抱怨声连成一片。佩雷带头动起手来。很快警察赶到，结果显而易见：事件平息了，但看电影就只能等下一回了。因为他们被带走了。 另外一次，普雷韦、杜阿梅尔和唐居伊都在布列塔尼的海滨。普雷韦在用创作讽刺词的方式搞了一些恶作剧之后，他躲进了一家酒菜丰盛的餐馆。上甜点的时间到了，他敞开所有的窗户，咒骂聚集在餐馆前广场上的农民。只因他的运气好，才未被那些人揍死。几天之后，一个骑自行车的人不小心撞倒了他，他起身狠打了那人一顿。 在周围邻居的心目中，城堡街54号是一个妓院，否则，整天有那么多的人来来往往作何解释呢？ 白天，住在54号的人都不工作，他们整天在蒙巴那斯泡酒吧，逛电影院和剧院。据说德斯诺斯每天去一次电影院，普雷韦也一样，因为他的弟弟皮埃罗是塞纳河右岸电影院的放映员，可以放普雷韦和他的朋友们免费进去。有许多电影他们都反复看了无数遍。晚上，他们回来阅读乔治·巴塔耶秘密出版的书——《眼睛的故事》。 他们一起住的人总是很多。以三个人的名义租的房子里常常住十五六个人。每天睡觉之前，他们都听美国的华尔兹舞曲的唱片，喝酒，吸烟，玩一些稀奇古怪的游戏。 什么样的游戏呢？ 大家围坐在一张桌子边，桌子上摆放着一些纸片。他们轮流传递一张纸片，每人都背着其他人在纸上写自己想写的东西，折叠好，传给下一个人。一圈结束后，另取一张重新开始。这种小纸片游戏是查拉发明的，而普雷韦赋予了它文化内容：正是他给出了下面一句名言的开头： 老鞋也将走出新路。 画家和诗人们经常组成小组做游戏：有时曼·雷、米罗、莫里斯、唐居伊为一组，有时布勒东、杜阿梅尔、莫里斯、唐居伊……为一组。他们中的诗人时而也拿起画笔搞绘画创作。 他们在一起时也讨论政治问题。他们的立场观点与《光明》杂志比较接近。该杂志由亨利·巴比塞Henry Barbusse（1873—1935），法国作家。创办于1919年。1924年，它的革命立场已经变得更加彻底。乔治·格罗兹George Grosz，祖籍德国的美国画家。1919年时为柏林的达达运动成员。曾经说过：在这个“智力贫乏，甚至几乎要崩溃”的国家——法国，光明社这支小小的政治队伍是彻底革命的惟一希望。“人们习惯性地经常视为最佳人道主义预言家的罗曼·罗兰是一位与赫里欧Edouard Herriot（1872—1957），法国政治家，作家。政治立场同样温和的彻底革命家。”后来，该杂志成为法国共产党左派的机关报。而眼下，它是反对摩洛哥战争的先锋。许多知识分子，包括超现实主义者们也参加了这一斗争。但是，光明社同时也提出了共产主义的问题。布勒东为此发表了一篇长文《正当防卫》，一方面反击《人道报》上对知识分子的攻击，同时也回答皮埃尔·纳维尔Pierre Naville（1904—1993），法国社会学家，是法国劳动社会学的一位奠基人。的质问：超现实主义者们“确实”做好从事革命“行动”的准备了吗？布勒东的回答：是的。但是，“思想上”的革命与“行动上”的革命同等重要，不能说只有共产党成员才可以从事革命斗争。 那几年的最大问题是：超现实主义者们到底是否即将搭乘共产主义的列车。普雷韦曾经说过：“别人将把我编进党的一个支部。”［摘自1972年出版的马塞尔·杜阿梅尔的《请别讲述你的生活》］在他看来，1929年组建的“十月小组”和工人聚集的郊区创办剧团都无须建立党组织。 莱里斯和唐居伊对是否加入共产党组织犹豫不决，阿尔托和德斯诺斯明确表示拒绝加入。布勒东、阿拉贡、佩雷、于尼克和艾吕雅于1927年1月采取了果断行动，从组织上加入了法国共产党。（但布勒东由于对共产党的文化政策完全失望，很快就退党了。)他们发表了一篇文章《告天下》，对外宣布他们的决定，讲解做出这一决定的理由。文章的发表引来让·波朗在《NRF》上发表了一篇尖酸刻薄的评论文章讽刺挖苦他们。布勒东在答辩文章中，称波朗是“法国种的奸夫”。波朗派遣马塞尔·阿尔朗和弗朗西斯·克雷米约以见证人的身份去见布勒东，要求同他决斗，布勒东避而不见。波朗在《NRF》上发表了他给上述两位朋友的一封信，内容如下： Dear friends, 非常感谢你们二位。我劳驾你们跑了一趟，也没有白费。现在人们都看清楚了表面上行为蛮横粗暴与语言肮脏下流的这个人，内心深处是多么胆小如鼠、贪生怕死。 ［摘自1927年11月1日《NRF》］ 阿拉贡后来给波朗写了一封反击信。这是一封超现实主义色彩很浓、极力为布勒东辩护的信件。He wrote: 先生，卑鄙下流的人有多种多样，我总认为最坏的莫过于以匿名从事活动。而您正是以匿名从事活动的专家……但是，归根结底您是太愚蠢了。我决不能允许您如此为所欲为，现在我彻底地不把您放在眼里了。 注：您赶快派见证人来吧，过两天我就要走了。 ［摘自1994年发表的贝尔纳·勒利奥写的《阿拉贡通信录》］ 克勒韦尔也加入了共产党。他在党内的时间比较长。他为法国共产党的杂志写过文章，参加过一些战斗行动。1935年在召开保护文化的作家国际大会期间，他曾经不顾一切地为拉近共产党员和超现实主义者的距离而奋斗过，但没有成功。他同布勒东产生了矛盾，双方都十分恼火。他向萨尔瓦多·达利［见发表于1974年萨尔瓦多·达利为勒内·克勒维尔的《艰难的死亡》写的序言］哭诉了他们决裂的经过。几天之后，长期遭受肺结核折磨的他在彻底的绝望中自杀身亡。 佩雷在1926年就加入了法国共产党，而且在其机关报《人道报》印刷厂做校对工作，能挣一点儿钱维持生计。当他发觉共产主义和超现实主义之间的分歧完全不可能弥合时，就脱离了共产党。1936年，他在西班牙支持该国马克思主义统一工人党中的托洛茨基分子。皮埃尔·纳维尔同佩雷一样：1926年加入共产党，同年担任《光明报》社的社长，1928年由于他成为托洛茨基分子，并且领导第四国际法国支部的工作，被法国共产党开除。 在巴黎塞纳河右岸，超现实主义者们的政治立场观点同托派比同共产党的更加接近。在左岸，他们的立场观点更加接近无政府主义。无政府主义者乐观、爱热闹，主张绝对自由、不拘泥于原则、不关心政治路线，比较灵活，不赞成动辄开除成员的做法。城堡街一侧，老的蒙巴那斯精神延续的时间较长。金钱的困惑、思想启蒙和现代意识的确限制了超现实主义派的腾飞，但在德斯诺斯和普雷韦身上有雅里和阿波利奈尔的精神。而布勒东常让人想起马蒂斯，哪怕是当他声嘶力竭大喊大叫的时候，也不失他的庄重与沉稳。 蒙巴那斯的超现实主义派之所以能够保持住蒙巴那斯人的原貌，他们之所以没有同喷泉街的超现实主义派融合，是因为他们之间主要的区别在于：左岸的超现实主义派是以普雷韦为首的放荡不羁的赖学生为王，而喷泉街一侧是由他们中间严肃的好学生当家。