Dreamworld: Surrealism at 100
Philadelphia Museum of Art
November 8, 2025 – February 16, 2026
Giorgio de Chirico (Italian, born Greece, 1888–1978)
The Soothsayer's Recompense, 1913
Oil on canvas, 53 3/8 × 70 7/8 inches (135.6 × 180 cm)
Philadelphia Museum of Art:
The Louise and Walter Arensberg Collection, 1950, 1950-134-38
André Masson (French, 1896–1987)
The Landscape of Wonders, 1935
Oil on canvas, 30 1/8 × 25 3/4 inches (76.5 × 65.4 cm)
Soloman R. Guggenheim Museum, New York
Bequest, Richard S. Zeisler, 2007, 2007.44
Salvador Dalí (Spanish, 1904–1989)
Soft Construction with Boiled Beans,
(Premonition of Civil War), 1936
Oil on canvas, 39 5/16 x 39 3/8 inches (99.9 x 100 cm)
Philadelphia Museum of Art:
The Louise and Walter Arensberg Collection, 1950, 1950-134-41
Salvador Dalí (Spanish, 1904–1989)
Aphrodisiac Telephone, 1938
Plastic and metal,
8 1/4 × 12 1/4 × 6 1/2 inches (21 × 31.1 × 16.5 cm)
Lent by the Minneapolis Institute of Art,
The William Hood Dunwoody Fund, 96.2
The Philadelphia Museum of Art (PMA) presents Dreamworld: Surrealism at 100, a major exhibition celebrating the centenary of the Surrealist movement. As the final stop in an ambitious tour organized with the Centre Pompidou in Paris—and the sole venue in the United States—the PMA will tell the story of Surrealist art, spotlighting the makers who sought out new expressive forms to expand the reach of the creative imagination.
The five touring partners are: the Centre Pompidou (Paris), the Royal Museums of Fine Arts of Belgium (Brussels), the Fundación MAPFRE (Madrid), the Hamburger Kunsthalle (Hamburg), and the PMA. Each venue was tasked with presenting a distinct story of Surrealism relevant to their own histories and collections. At the PMA, Dreamworld will provide a chronological installation arranged through six thematic sections, including one, unique to Philadelphia, that focuses on artists who fled from Europe to Mexico and the U.S. during World War II.
In his 1924 Manifesto of Surrealism, poet and artist André Breton addressed what he saw as a crisis of consciousness: at around twenty years of age, he said, humans discard their childlike imaginations to adopt adult sense, decorum, and judgement. Breton believed that the only legitimate aspiration is to obtain a state of freedom, achievable solely by reharnessing the imagination. Surrealism, the movement in literature and art that Breton codified with his manifesto, would continually seek new techniques for exploring the human capacity for astonishment.
The first self-described Surrealists working in Paris rejected the representation of objective reality in art as antithetical to a truer, higher beauty, and instead, sought to produce images with a dreamlike character. The first section of this exhibition, “Waking Dream,” traces the development of Surrealist imagery and experimental techniques across mediums in the 1920s, from the found-object constructions of Man Ray and the collages of Max Ernst to hallucinatory canvases by Giorgio de Chirico, René Magritte, and Salvador Dalí.
Jean (Hans) Arp (French, born Germany [Alsace], 1886–1966)
Growth, modeled 1938; cast by 1949
Bronze, 31 1/4 × 12 1/2 × 7 3/8 inches (79.4 × 31.8 × 18.7 cm)
Philadelphia Museum of Art:
Gift of Curt Valentin, 1950, 1950-78-1
Roberto Matta (Chilean, 1911–2002)
Morphology (Fantasy Landscape), c. 1939
Oil on canvas, 12 × 16 1/8 inches (30.5 × 41 cm)
Collection of Andrew S. Teufel
Dorothea Tanning (American, 1910–2012)
Birthday, 1942
Oil on canvas, 40 1/4 × 25 1/2 inches (102.2 × 64.8 cm)
Philadelphia Museum of Art: 125th Anniversary Acquisition.
Purchased with funds contributed
by C. K. Williams, II, 1999, 1999-50-1
Dreamworld will then journey through sections exploring the themes of “Natural History” and “Desire.” Capturing a sense of wonder in nature was crucial for the development of Surrealist sensibility. Visitors will encounter enigmatic landscapes and fantastic creatures; torn-paper collages by Hans Arp will be displayed alongside Paul Klee’s vibrant painting Fish Magic (1925), the disorienting photographic landscapes by Lee Miller, and Joseph Cornell’s boxes containing found objects. Nearby, works by Hans Bellmer, Claude Cahun, André Kertész, and others will demonstrate the powerful ways in which photography served the Surrealist interest in eros, or desire, and the reinvention of the erotic body.
A through line of the exhibition is the use of mythology to convey the Surrealist world view. A section titled “Premonition of War” features images of monsters and creatures of strange and terrifying shape, which artists such as Dalí, Ernst, André Masson, Joan Miró, and Pablo Picasso used to respond to the devastating rise of totalitarianism and war in Europe in the 1930s.
With the outbreak of World War II, many Surrealists working in France left for North America, taking refuge in Caribbean ports, Mexico, and the United States. This is the focus of a section unique to the PMA, entitled “Exiles.” This section features treasured paintings in the PMA’s collection in addition to major loans such as Frida Kahlo's My Grandparents, My Parents, and I (Family Tree) (1936). In New York, Surrealism’s wartime capital, younger artists developed innovative forms of painting in tune with Surrealist methods. Highlights here will include Jackson Pollock’s Male and Female (1942–1943) and Mark Rothko’s Gyrations on Four Planes (1944).
The exhibition’s concluding section, “Magic Art,” focuses on a new type of esotericism that emerged within Surrealism in the aftermath of World War II. Filled with imagery of magical and alchemical beings, celestial figures, and symbols of the occult, this section will feature Leonora Carrington’s The Pleasures of Dagobert (1945), which materializes the magical, metamorphic imaginings of an early-medieval French monarch, and Remedios Varo’s Creation of the Birds (1957), in which an owl-headed painter uses starlight to bring a painted bird to life.
Remedios Varo (Spanish, 1908–1963)
Icon, 1945
Oil with mother-of-pearl and gold leaf inlays on wood
Closed: 23 5/8 × 15 7/16 × 2 1/8 inches
(60 × 39.2 × 5 .4 cm)
Open: 23 5/8 × 27 9/16 × 2 1/8 inches
(60 × 70 × 5.4 cm)
Colección Malba,
Museo de Arte Latinoamericano de Buenos Aires, 1997.02
Illustrated by
Arshile Gorky (American, born Van Province,
Ottoman Empire [present-day Turkey], c. 1904–1948)
Text by André Breton (French, 1896–1966),
Dust jacket and cover designed by Marcel Duchamp
(American, born France, 1887–1968),
Cover of Young Cherry Trees Secured Against Hares, 1946
Hardbound book with paper cover design by Marcel Duchamp
Book: 9 3/8 x 6 3/8 inches (23.8 x 16.2 cm)
Philadelphia Museum of Art:
Gift of an anonymous donor, 1988, 1988-8-2
Victor Brauner (Romanian, 1903–1966)
The Lovers (Messengers of the Number), February, 1947
Oil on canvas, 36 1/4 × 28 3/4 inches (92 × 73 cm)
Centre Pompidou, Musée National d’Art Moderne, Paris:
Bequest of Mme Jacqueline Victor Brauner, 1986, AM 1987-1204
Joseph Cornell (American, 1903–1972)
Untitled (Constellation), c. 1958
Box construction: wood, metal, cut paper, glass and found objects,
13 × 19 3/8 × 4 1/4 inches (33 × 49.2 × 10.8 cm)
Philadelphia Museum of Art:
Gift of Josephine Albarelli, 2015, 2015-144-5
“Surrealist art has been a focus of our museum since receiving the generous gifts of the Louise and Walter Arensberg collection in 1950 and the bequest of the Albert E. Gallatin collection in 1952,” said Matthew Affron, the museum’s Muriel and Philip Berman Curator of Modern Art. “Today, our permanent collection features outstanding works by a range of artists associated with Surrealism, including Giorgio de Chirico, Joan Miró, René Magritte, Jean Arp, Salvador Dalí, and Dorothea Tanning. As the main repository of works by Marcel Duchamp, one of Surrealism’s most influential guiding spirits, the PMA is very proud to build on this monumental exhibition and present it to audiences in the U.S.”
“The PMA has an extraordinary collection of modern art, and through this exhibition, we can offer our visitors a new perspective on Surrealism and showcase the strength of our own collection,” said Sasha Suda, the George D. Widener Director and CEO. “I can’t think of a more perfect way to celebrate 100 years of Surrealism.”
In Philadelphia, Dreamworld: Surrealism at 100 is curated by Matthew Affron, the Muriel and Philip Berman Curator of Modern Art, with Danielle Cooke, Exhibition Assistant. It will be accompanied by an illustrated publication by Matthew Affron, detailing the the key motivations, principles, themes, and techniques of Surrealist art from the early 1920s to the late 1950s.
PMA - PHILADELPHIA MUSEUM OF ART
2600 Benjamin Franklin Parkway, Philadelphia, PA 19130
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