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

Mary Ann Caws Professor of English, French, and Comparative Literature, Graduate Center of the City University of New York

“

The whole history of the way the eye is represented, all the way through Surrealism, you see these eyes projected as both windows and mirrors. And looking at it through the window and looking into the interior soul of the artist seems to me one of the most interesting things possibly that the artist, any artist, can project upon the canvas, and upon the world. And in Surrealism, as in Magritte, there’s a, there’s an interconnection between the dream and the real, between night and day. And that is perfectly illustrated, I think, by The False Mirror—this kind of transparent, inner penetration of outside and inside. So it’s both the dream and the real world, and it’s the way that the painter—all painters—project upon the world their own vision and their own dreams.”