As an early adherent of the Surrealist movement, Victor Brauner actively explored the realm of dreams and the unconscious, with an emphasis on the occult and mystical. Both in content and in style, his art represents a remarkably fertile fusion of wide- ranging world cultures, mythologies, and religious beliefs, from Egyptian to Aztec, Native American to Oceanic, Jewish to Hindu, to name only a few. In Victor Brauner. Surrealist Hieroglyphs, Didier Semin, the preeminent Brauner scholar, has clarified Brauner's involvement with Surrealism and his sui generis interpretation of the movement. Margaret Montagne, author of the forthcoming Brauner catalogue raisonné, has addressed the artist's use of psychoanalytical and arcane references to explore the motif of the double. Conservator Bradford Epley publishes new research on Brauner's revolutionary use of wax as a medium. Susan Davidson's introduction provides an insightful history of John and Dominique de Menils' patronage of Brauner and the reception of his art in America. In addition, the little-known, first critical English text on Brauner (1949) by the innovative poet and critic Parker Tyler is again published as the foreword to this monograph. The artist: Victor Brauner (Piatra Neamtz, Romania 1903-1966 Paris). In 1921, studies at the Academy of the Fine Arts at Bucharest; in 1924, founding of the dadaist magazine 75 HP; publication of the manifesto "pictopoesie". In 1930, move to Paris. Joins the Surrealist group in 1933. In 1940, retreat to the Pyrenees, later to the Alps. In 1948, break with Surrealism. Participation in II. documenta '59.
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