#women surrealists

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Lezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in tLezley SaarMaster shaman who explores the role of mysticism, spiritualism and religious rituals in t

Lezley Saar

Master shaman who explores the role of mysticism, spiritualism and religious rituals in the human quest for safety, survival and certainty. Known for her earlier works that examine those who dwell in the interstices of identity, Saar here creates fantastically invented narratives of soothsayers and seers who use amulets, bones and tinctures to fix what is broken, find what is lost, or cure all manner of maladies.


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Leonor Fini — Character on a terrace, 1938

Leonor Fini — Small Signs of the Night 1985

Leonor Fini — Illustration for Charles Baudelaire’s Les Fleurs du Mal.

Leonora Carrington — Step Sister’s Hen (Or Marigold Please Give Me the Answer Do). 1952.

Leonor Fini — Cat Dragon, ink on paper 1977.

Dorothea Tanning — A Very Happy Picture. 1947

Leonor Fini — Portrait de femme aux feuilles d'acanthe, 1946

Poems by Kay Sage:


AN OBSERVATION

The more I wonder,

the longer I live,

how much water

can stay in a sieve



THE WINDOW

My room has two door

and one window

One door is red and the other is grey.

I cannot open the red door;

the grey door does not interest me.

Having no choice I shall lock them both

and look out of the window.



CHINOISERIE

English, French, Italian,

I can write in all of these,

but, at best, they are translations.

I think in Chinese.



FRAGRANCE

I feel unexpectedly

delicious fragrance

a perfume full of memories

of youth, of spring

which seems to follow my smile

the motion of my hands.

I look in vain

I cannot find it

what can it be?

And then

in a flash, I’ve got it

I know

that’s it

that fragrance

is the memory

of me.

Leonor Fini — Femme assise sur un homme 1942

Leonor Fini — Jugglers, c. 1969

Watercolor, left and pencil. Costume project for John Huston’s film “A Walk with Love and Death”

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