2 / Dreams and Visions

• • The Ecstasy of St. TeresaGian Lorenzo Bernini (Italian, 1598–1680)	Garden of Earthly DelightsHieronymus Bosch (Netherlandish, ca. 1450–1516)	The Night Journey of Muhammad on His Steed, Buraq from the Bustan of SacdiUnknown painter; Sultan Muhammad Nur (calligrapher) (Uzbekistani, active first half of 16th century)	The ScreamEdvard Munch (Norwegian, 1863–1944)	The False MirrorRené Magritte (Belgian, 1898–1967)	Le Pont-au-Change (The Exchange Bridge, Paris)Charles Méryon (French, 1821–1868)
    St. Francis of AssisiFrancisco de Zurbaràn (Spanish, 1598–1644)	The Four SleepersMokuan Reien (Japanese, d. 1345)	Revenge of the GoldfishSandy Skoglund (American, b. 1946)	Women’s Dreamings of the Tanami Desert 2Margaret Anjullu (Anjule Bumblebee) (Aboriginal, n.d.)	“Sisilia Sii–Weaver”Flores Island, Indonesia	Utatane soshi emaki (A Wakeful Sleep)Tosa Mitsunobu (Japanese, 1434–1525)
    Dream, Caused by the Flight of a Bee (Around a Pomegranate, a Second Before Waking Up)Salvador Dalí (Spanish, 1904–1989)	Angel of the RevelationWilliam Blake (English, 1757–1827)	The JungleWifredo Lam (Cuban, 1902–1982)	The Broken ColumnFrida Kahlo (Mexican, 1907–1954)	HeadrestShona artist, Zimbabwe	Lintel 25 of Yaxchilán Structure 23Maya artist, Yaxchilán, Chiapas, Mexico

expert perspective

Whitney Chadwick Professor Emerita of Art History, San Francisco State University

“

In the first Surrealist manifesto, Breton identifies a history of Surrealism that he says goes way back, deep into history. But he actually names names in the manifesto too.

In the artistic vein, he takes us back to the Renaissance; he mentions Hieronymus Bosch and the great Garden of Earthly Delights. Bosch was a Flemish painter of the late fifteenth, early sixteenth century. [He] produced this triptych that looks like an altarpiece that contains hundreds of figures in states of sexual excess, nudity, playfulness, horror, pain, fear. It really takes us sort of through the human condition in an imagery that’s difficult to describe, difficult to characterize, and has proved actually resistant, for much of history, resistant to interpretation. No one can adequately and fully account for Bosch’s intentions in this painting, although there are many theories and many of them have to do with religious beliefs, sex, sex, sex, alchemical and magical theories and practices—hard to decipher.”