Traditional classification of genres is hard to apply to surrealist paintings due to the subject of representation. For instance, with landscapes we expect to see scenery in a painting – yet in surrealism scenery is just an attribute of a wider notion, an element of the actual artistic subject, which is the twilight states of mind like… hallucinations, dreams, memories and illusions. In these peculiar states the surrounding objects and their attributes interact and overlap and combine in the weirdest ways as the associations light up in the mind of an artist. These unpredictable irrational combinations make up the absurd reality, the surreality that blurs the boundary between the conscious and subconscious, the objective and the subjective, the real and the phantasy. While following the basic principles of representation applied by realists and symbolists, the surrealists add an irrational touch: they render daylight scenery with night lighting of the houses, they make water look solid and the mountains look melted; they create the illusion of infinity in the limited space of a cityscape; or resort to double images tricking the usual perception; they may include African palmtrees into the European landscape and much more. Everything is irrational in surrealist landscapes – the time, the place and the state. A surrealist painting is aimed at rendering free-flowing associations that hecticly emerge in a person’s subconscious irrelevant to any laws and principles. That is why you need to analyze them rather than synthesize. There is no general idea the landscape should lead you to – what is relevant is the reasons that triggered the images you see.