Minotaure, No. 1: June 1, 1933 (Pablo Picasso)
|Managing Editor||Albert SkiraAndré Breton|
The review was originally founded by E. Tériade (Stratis Eleftheriadis) and Albert Skira with the desire to produce a lavish magazine on "The plastic arts - poetry - music - architecture - ethnography and mythology - theater - psychoanalytical studies and observations."  Although not intended to be strictly a surrealist review, Albert Skira had been associating with André Breton and others in the movement and invited their input, even before the first issue was published. Skira's only restriction for Breton was that he not use the review as a forum to advocate his political views.  The original editor was E. Tériade, but that role was soon taken over by Skira, who formed an editorial committee that included André Breton, Marcel Duchamp, Paul Eluard, Maurice Heine, and Pierre Mabille, giving it a heavy surrealist bias early on. E. Tériade remained involved and contributed to the magazine for several years, but ultimately departed in December of 1937, in part due to the ever-increasing surrealist direction of the review, which only left Minotaure under the even greater influence of André Breton and the surrealist. By 1939 André Breton and Paul Eluard had a falling out and Eluard and Marcel Duchamp departed the editorial committee as well. Breton had taken over complete editorship of Minotaure by the 1939 issue, however his tenure was short lived with the outbreak of World War II, an exodus of surrealist to the United States, and Albert Skira's return to Switzerland in the following months.     
The name Minotaure is attributed to Georges Bataille and André Masson, suggested "during a meeting with [Roger] Vitrac, [Robert] Desnos, and E. Tériade, who were in favor of calling the review L'Age d'Or."  The theme of the Minotaur and/or the labyrinth, had already appeared in the work of several artist and writers including Georges Bataille, André Breton, Max Ernst, André Masson, as well as a number of drawings that Pablo Picasso had made on Greek mythology subjects. In the age of Freud, the metaphor of the Minotaur and the labyrinth had been popular in several circles of intellectuals in the 1920s and 1930s; the labyrinth being analogous to the mind, the Minotaur representing mysterious irrational impulses hidden within, and Theseus - the conscious mind, entering the labyrinth and slaying the Minotaur, emerging victorious, - with a greater self-knowledge; a paradigm for psychoanalyst and the surrealist theater as well.  
It was a luxurious publication in its day, sporting original artworks on its cover by prestigious artists like Matisse, Picasso, Duchamp, Miró, and Dali. The selling price was 25 francs and Minotaure already had 800 subscribers when the first issue was published in June of 1933. Due to finical difficulties it was published at irregular intervals. The British art patron/collector and poet, Edward James soon came to be an important sponsor and adviser of the magazine. With an international circulation in several European counties, the journal was a significant element in Surrealism's rise form a relatively obscure circle of poets, artist, and intellectuals in the 1920s to a major movement of twentieth century art. Many important essays and writings on surrealist theory and philosophy were published in the review. In addition to André Breton's writings, Salvador Dalí, often under estimated as a writer, contributed essays to eight issues, including writings on art theory like his paranoid-critical technique. It is still one of the richest sources of information about the pre-war Surrealist world. It was one in a succession of surrealist reviews including La Révolution Surréaliste (1924-1929) and Le Surrealisme au service de la revolution (1930-1933), Minotaure (1933-1939) and VVV (1942-1944). In fact, in the last issue of Le Surrealisme au service de la revolution (1933), Breton published a full page advertisement for the first issue of Minotaure (1933). Minotaure was by far the most lavish, inclusive, and widely distributed of the four.       
Contributors and content
Minotaure brought to the attention of the art world many little-known figures such as Hans Bellmer and his doll, Victor Brauner, Paul Delvaux, Alberto Giacometti, and Roberto Matta. The Balthus painting The Street (1933, Museum of Modern Art, New York) was reproduced for the first time in Minotaure. Minotaure was the first to reproduce Picasso's sculptures too. Many important photographers contributed regularly or were featured in the journal including Bill Brandt, Brassai, Dora Maar, Man Ray, Nadar, and Raoul Ubac. It is also the only surrealist publication to feature articles on architecture: Tristan Tzara, D'un certain automatisme du goût (no. 3–4), Salvador Dalí, De la beauté terrifiante et comestible, de l'architecture Modern' style (no. 3–4) and Roberto Matta, Mathématiques sensibles - Architecture du Temps (no. 11). Minotaure contained the first published essays of the famed French psychiatrist and philosopher, Jacques Lacan (no. 1 and 4); keeping an "open house to the essays"  from philosophers, psychologists, anthropologist, and other specialists including Jean Wahl, Roger Caillois, Pierre Courthion, and Michel Leiris. Other contributors included Jacques Brunius, Edward James, Herbert Read, Benjamin Péret, René Crevel, Léon Paul Fargue, Pierre Mabille, and Henri Michaux.       
Volumes and tables of contents
- Minotaure, Volume No. 1: June 1, 1933, cover by Pablo Picasso. Table of contents 
Pierre Reverdy, L'art du russan [The Art of Russian]; Paul Éluard, Un visage dans l'herbe [A Face in the Grass]; Maurice Raynal, Coups de fenchez mot; André Breton, A propos de la reditom Coutes d' Achim d' Aruim; E. Tériade, Peintures [Paintings]; René Crevel, L'enjamci de l'art [The Art of Art]; Marcel Jean, Chonogrammes; E. Tériade, Marcel Jean, Les Présages, ballet, par André Masson [The Omens, ballet by André Masson]; Max Raphael, Le Fronton de Corfon [About the Corfu pediment]; André Breton, Picasso dans som élément [Picasso in his Element]; André Breton, Crucifixions; Pablo Picasso, Une Anatomie [An Anatomy]; Pierre Reverdy, Note éternelle du Présent [Eternal Note of the Present]; Maurice Raynal, Variété du corps humain [Variety of the Human Body]; E. Tériade, Valeur plastique du mouvement [Plastic Value Movement]; Max Raphael, Notes sur de Baroque [Notes on the Baroque]; Maurice Heine, Dramaturgie de Sade; D. A. F. de Sade, Sujet de Zélonide; André Masson: Massacres; Paul Éluard, Le miroir de Baudelaire [The Mirror of Baudelaire]; Salvador Dali, Interprétation paranoiaque-critiquede l'image obsédante L'Angélus de Millet [Paranoid-critical Interpretation of the haunting image The Angelus of Millet]; Jacques M. É. Lacan, Le probléme du style et les formes paranoiaques de l'expérience [The Problem of Style and Paranoid Forms of Experience]; Kurt Weill, Les Sept Péchés capitaux [The Seven Deadly Sins]; Suite de dessins préparatoires de Henri Matisse pour "de L'Après-midi d'un fauna" de Stéphane Mallarmé [Set of preparatory drawings by Henri Matisse for "The Afternoon of a Fauna" by Stéphane Mallarmé]; Michel Leiris, Danses funéraires Dogon [Dogon Funeral Dances].
- Minotaure, Volume No. 2: June 1, 1933, cover by Gaston-Louis Roux.
- Minotaure, Volume No. 3-4: December 12, 1933, cover by André Derain.
- Minotaure, Volume No. 5: May 12, 1934, cover by Francisco Borès.
- Minotaure, Volume No. 6: December 5, 1934, cover by Marcel Duchamp.
- Minotaure, Volume No. 7: June 10, 1935, cover by Juna Miró.
- Minotaure, Volume No. 8: June 15, 1936, cover by Salvador Dali.
- Minotaure, Volume No. 9: October 15, 1936, cover by Henri Matisse.
- Minotaure, Volume No. 10: December 1937, cover by René Magritte.
- Minotaure, Volume No. 11: May 15, 1938, cover by Max Ernst.
- Minotaure, Volume No. 12-13: May 12, 1939, cover by André Masson, with inner cover by Diego Rivera.
Two facsimile editions of the complete 13 volume journal have been published. The first facsimile was published in 1968 by Arno Press, New York, with an introduction in English and French by Albert Skira. The Arno Press edition was in four red cloth hardcover volumes (13 x 11 in.), including illustrations, advertisements and a cumulative index: Vol, I 1933; Vol. II, 1934-1935; Vol. III, 1936-1937, Vol. IV, 1938-1939.  The second facsimile edition was published in 1981 by Editions d'art Albert Skira/Imprimeries Reunies, Geneve-Lausanne. The Skira facsimile edition, Minotaure. Revue artistique et litteraire, was published in quarto (4to) format (12.6 x 10 in.), hardbound with dust jackets and slipcases in three volumes: Vol. I, 1933; Vol. II, 1934-1936; Vol. III, 1936-1939. 
- Documents, a surrealist journal edited by Georges Bataille from 1929 to 1930
- Acéphale, a surrealist review created by Bataille, published from 1936 to 1939
- View, an American art magazine, primarily covering avant-garde and surrealist art, published from 1940 to 1947
- VVV, a New York journal published by émigré European surrealists from 1942 through 1944
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- René Passeron (1975). The Concise Encyclopedia of Surrealism. Chartwell Books, Inc. Secaucus, New Jersey, 288 pp.
- Gaëtan Picon (1977) Surrealists and Surrealism 1919-1939. Skira/Rizzoli International Publications, Inc. New York. 231 pp ISBN 0-8478-0041-5
- Jean, Marcel (1980) The Autobiography of Surrealism. The Viking Press, New York. 472 pp. ISBN 0-670-14235--2 [published simultaneously in Canada by Penguin Books Canada, Ltd.]
- William Rubin and Carolyn Lanchner (1976) Andre Masson. The Museum of Modern Art, New York. 232 pp. ISBN 0-87070-464-8
- WorldCat, Minotaure, Arno Press, New York. 1968
- WorldCat, Minotaure: revue artistique et littéraire. Editions d'art Albert Skira/Imprimeries Reunies, Geneve-Lausanne. 1981
- Paris: the Heart of Surrealism
- Minotaure at 'the nonist', Retrieved August 2010
- Guggenheim Blogs https://www.guggenheim.org/blogs/findings/minotaure-surrealist-magazine-1930s
- The Menil Collection: Minotaure Journal Conservation https://www.menil.org/read/articles/9-minotaure-journal-conservation