This is the best summary I could come up with:

Surrealism, the art movement that gave us disembodied eyeballs, melting clocks and animals with mismatched parts, was born in 1924 when the French poet André Breton published a treatise decrying the vogue for realism and rationality.

By lending those museums about 30 major artworks by Salvador Dalí, Giorgio de Chirico, Max Ernst and Man Ray, the Pompidou is giving each institution a base upon which to develop its own Surrealism show, and each will have a different focus.

Although Breton’s circle was mostly in Paris, Surrealism’s signature adherents were spread internationally: Dalí and Miró were Spanish, de Chirico was Italian, Magritte was Belgian, Leonora Carrington was British and Frida Kahlo was Mexican.

Around the same time, the Belgian poet Paul Nougé also published his own Surrealist tracts called “Correspondence,” which are on display at an exhibition in Brussels at the Bozar art center.

Allmer also said that Surrealism didn’t find its most profound uses until female artists adopted its methods in the post-World War II era, as she plans to show in an exhibition she is curating later this year at the Henry Moore Institute in Leeds, England.

In Zeller’s book, he identifies about 30 “New Surrealists,” including the Polish painter Ewa Juszkiewicz, who makes portraits of women covered in plants, and the Taiwanese artist Lin Shih-Yung, who paints humans with bananas for heads.

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