The paper "Gender and Surrealism" analyzes surrealism art in the context of gender. It would equally be necessary to indicate that surrealism had emanated as a movement, which encompassed both literature and art, and had flourished in Europe in between the first and Second World War. It should clearly be noted that surrealism, as many believe, is not a negation theory, but a positive expression through different literature and art, that support certain positive attributes in the society. It depicted directly the scenario as it was in the post world war Europe, where politics and culture had enjoyed great dominance. In the early 1900, surrealists had a dear tendency to shape constructions to relay and depict sexuality and gender, and to be more specific, masculinity. Many feminist personalities by then had forged criticism on the surrealist approaches of gender, where the woman’s body had been deemed to be of symptomatic of the man misogyny. The man, during that time, was seen to have great influence on how the woman thought about him, considering the man had been integrated fully in the vision to bring peace during and after the World War I. The feminists continue to criticize surrealism, insisting that it was meant to be a male movement and fellowship. This is amidst the celebration of women surrealists such as Dorothea Tunning and Leonora Carrington, who liven between 1971 and 2011. The critics have been on the basis that the movement has continuously pioneered negative attributes relating to women.