Abstract
This article analyses the composition of two surrealist photomontages dedicated to Germaine Berton and the Papin sisters. By situating them in the history of photographic portraiture and by taking into account the political positioning of the surrealist group, the text seeks to demonstrate that these montages, while furthering their political radicalism, were in fact profoundly conservative in aesthetic terms, drawing for example on relations of dominance based on class and gender.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
