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Dada vs Surrealism: what is the difference?

Dada (c. 1916 – 1924) and Surrealism (1924 – 1960s) side by side.

Surrealism grew out of Dada, and several artists, including Max Ernst, Jean Arp and Man Ray, took part in both. Dada wanted to destroy the logic and conventions that had led to the First World War. Surrealism wanted to build something new from the unconscious mind.

Side by side

DadaSurrealism
Datesc. 1916–19241924–1960s
Where it beganZurich (Cabaret Voltaire), then Berlin, Paris, New YorkParis
AimAnti-art: mock reason, tradition and the art establishmentUnlock the unconscious through dreams and chance
MethodsCollage, photomontage, readymades, sound poetry, performanceAutomatism, dream imagery, frottage, realistic depictions of impossible scenes
ToneAbsurd, nihilistic, provocativeDreamlike, mysterious, erotic
Key figuresHugo Ball, Tristan Tzara, Marcel Duchamp, Hannah HöchAndré Breton, Salvador Dalí, René Magritte, Max Ernst, Joan Miró

Dada: key characteristics

  • Rejection of logic, reason and traditional art
  • Chance, absurdity and humour
  • Collage, photomontage, readymades and sound poetry
  • Performance and provocation
  • A response to the horrors of the First World War

Key artists: Tristan Tzara, Max Ernst, George Grosz, Jean Arp, Francis Picabia, Kurt Schwitters. Read the full Dada guide →

Surrealism: key characteristics

  • Dreams and the unconscious mind, influenced by Freud
  • Unexpected juxtapositions and dream imagery
  • Automatic drawing and writing to bypass conscious control
  • Realistic technique applied to impossible scenes (Dalí, Magritte)
  • Games of chance, collage and new techniques such as frottage

Key artists: Pablo Picasso, Salvador Dalí, Frida Kahlo, Joan Miró, Paul Klee, Tristan Tzara. Read the full Surrealism guide →

Frequently asked questions

Did Dada become Surrealism?

Largely, yes. In Paris many Dadaists, led by André Breton, broke away in the early 1920s; Breton's first Surrealist manifesto appeared in 1924.