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{{Short description|International cultural movement (1920s–1950s)}}
{{Infobox art movement
| name         = Surrealism
| image        = MagrittePipe.jpg 
| alt          = The Treachery of Images, by René Magritte (1929)
| caption      = ''[[The Treachery of Images]]'', by [[René Magritte]] (1929), featuring the declaration "{{lang|fr|Ceci n'est pas une pipe}}" ({{lit|This is not a pipe}})
| yearsactive  = 1920s–1950s
| country      = France, Belgium
| majorfigures = [[André Breton|Breton]], [[Leonora Carrington|Carrington]], [[Salvador Dalí|Dalí]], [[Max Ernst|Ernst]], [[Leonor Fini|Fini]], [[René Magritte|Magritte]], [[Méret Oppenheim|Oppenheim]]
| influences   = {{hlist|[[Symbolism (arts)|Symbolism]]|[[Abstract art]]|[[Metaphysical painting]]|[[Dada]]}}
| influenced   = {{hlist|[[Abstract expressionism]]|[[Fantastic art]]|[[Postmodern art]]}}
|commons = yes
}}
{{Surrealism infobox}}
'''Surrealism''' is an [[art movement|art]] and [[cultural movement]] that developed in Europe in the [[aftermath of World War I]] in which artists aimed to allow the [[unconscious mind]] to express itself, often resulting in the depiction of [[illogical]] or [[dreamlike]] scenes and ideas.<ref>{{cite book |last=Barnes |first=Rachel |title=The 20th-Century art book.|year=2001|publisher=Phaidon Press|location=London|isbn=978-0-7148-3542-6|edition=Reprinted.}}</ref> Its intention was, according to leader [[André Breton]], to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or ''surreality.''<ref>[http://data.bnf.fr/fr/14451967/andre_breton_manifeste_du_surrealisme/ André Breton, ''Manifeste du surréalisme'', various editions], Bibliothèque nationale de France.</ref><ref>[https://books.google.com/books?id=P906UFXIoMUC&dq=%22resolve+the+previously+contradictory+conditions+of+dream+and+reality%22&pg=PA611 Ian Chilvers, ''The Oxford Dictionary of Art and Artists''], Oxford University Press, 2009, p. 611, {{ISBN|0-19-953294-X}}.</ref><ref name="Manifesto of Surrealism">{{cite web |url=http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm |title=André Breton (1924), Manifesto of Surrealism |publisher=Tcf.ua.edu |date=1924-06-08 |access-date=2012-12-06 |archive-date=2010-02-09 |archive-url=https://web.archive.org/web/20100209063222/http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm |url-status=dead }}</ref> It produced works of painting, writing, photography, [[Theatre of Cruelty|theatre]], [[Surrealist cinema|filmmaking]], [[Surrealist music|music]], [[Surreal humour|comedy]] and other media as well.

Works of Surrealism feature the [[element of surprise]], unexpected [[juxtaposition]]s and ''[[Non sequitur (literary device)|non sequitur]]''. However, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost (for instance, of the "pure psychic [[automatic behavior|automatism]]" Breton speaks of in the first [[Surrealist Manifesto]]), with the works themselves being secondary, i.e., artifacts of surrealist experimentation.<ref>{{cite book |last= Breton |first= André |title= The Automatic Message.|year=1997|publisher= Atlas Press |location=London|isbn= 978-0-9477-5799-1|edition=First.}}</ref> Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. At the time, the movement was associated with political causes such as [[communism]] and [[anarchism]]. It was influenced by the [[Dada]] movement of the 1910s.<ref>{{cite web |url=https://www.metmuseum.org/toah/hd/surr/hd_surr.htm |title=Surrealism |first=James |last=Voorhies |website=[[Metropolitan Museum of Art]]|date=October 2004 }}</ref>

The term "Surrealism" originated with [[Guillaume Apollinaire]] in 1917.<ref>"The movement started in 1917, that year of war and revolution, when the term was coined by Guillaume Apollinaire and when three young intellectuals, André Breton, Philipp Soupault and Louis Aragon, met each other in Paris and found that they shared the same overriding artistic principle: any art, in future, was only possible if it denied the validity of bourgeois sense and morals."— page 11 In:  Haslam, Malcolm. The Real World of the Surrealists. New York: Galley Press / W.H.Smith Publishers, 1978.</ref><ref>"Guillaume Apollinaire having coined the term ''surréalisme'' in the spring of 1917, subtitled his play ''Le Mamelles de Tirésias'', performed just before his death the following year, '''''Drame surréaliste'''''. It was in fact Apollinaire who first introduced Breton to Philippe Soupault at his 125 Boulevard St. Germaine apartment, meeting-place for most of the significant avant-garde figures of the day." p. 39 in David Gascoyne's Translator's Introduction to "The Magnetic Fields," included with "The Immaculate Conception," in Breton, André. ''The Automatic Message''. Translated by David Gascoyne, Antony Melville, & Jon Graham. (London and Geurnsey: Atlas Press, 1997). {{ISBN|1-900565-01-3}} & CIP available from [[The British Library]].</ref> However, the Surrealist movement was not officially established until after October 1924, when the Surrealist Manifesto published by Breton succeeded in claiming the term for his group over a rival faction led by [[Yvan Goll]], who had published his own surrealist manifesto two weeks prior.<ref>Yvan Goll's manifesto preceded Breton's by fourteen days, although Breton eventually succeeded in claiming the term for his group. See Matthew S. Witkovsky, "Surrealism in the Plural: Guillaume Apollinaire, Ivan Goll and Devětsil in the 1920s" ''Papers of Surrealism'', 2, Summer 2004, pp. 1–14.</ref> The most important center of the movement was [[Paris]], France. From the 1920s onward, the movement spread around the globe, impacting the visual arts, literature, theatre, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social and cultural theories.

==Founding of the movement==
[[File:The Elephant Celebes.jpg|thumb|[[Max Ernst]], ''The Elephant Celebes'', 1921|left]]

The word ''surrealism'' was first coined in March 1917 by [[Guillaume Apollinaire]].<ref>Hargrove, Nancy (1998). "The Great Parade: Cocteau, Picasso, Satie, Massine, Diaghilev—and T.S. Eliot". Journal for the Interdisciplinary Study of Literature 31 (1).</ref> He wrote in a letter to [[Paul Dermée]]: "All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used" [''Tout bien examiné, je crois en effet qu'il vaut mieux adopter surréalisme que surnaturalisme que j'avais d'abord employé''].<ref>Jean-Paul Clébert, ''Dictionnaire du surréalisme'', A.T.P. & Le Seuil, Chamalières, p. 17, 1996.</ref>

Apollinaire used the term in his program notes for [[Sergei Diaghilev]]'s [[Ballets Russes]], ''[[Parade (ballet)|Parade]]'', which premiered 18 May 1917. ''Parade'' had a one-act scenario by [[Jean Cocteau]] and was performed with music by [[Erik Satie]]. Cocteau described the ballet as "realistic". Apollinaire went further, describing ''Parade'' as "surrealistic":<ref>[https://web.archive.org/web/20150922015316/http://etd.lsu.edu/docs/available/etd-07112005-201540/unrestricted/Doyle_dis.pdf Tracy A. Doyle, ''Erik Satie's ballet Parade: an arrangement for woodwind quintet and percussion with Historical Summary''], University of Massachusetts, Amherst, 1998, Louisiana State University, August 2005, pp. 51–66.</ref>

<blockquote>This new alliance—I say new, because until now scenery and costumes were linked only by factitious bonds—has given rise, in ''Parade'', to a kind of surrealism, which I consider to be the point of departure for a whole series of manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. (Apollinaire, 1917)<ref>Vassiliki Kolocotroni, Jane Goldman, and Olga Taxidou, ''Modernism: An Anthology of Sources and Documents'', University of Chicago Press, 1998, p. 211.</ref></blockquote>

The term was taken up again by Apollinaire, both as subtitle and in the preface to his play ''[[The Breasts of Tiresias|Les Mamelles de Tirésias: Drame surréaliste]]'',<ref>Gascoyne, p. 39.</ref> which was written in 1903 and first performed in 1917.<ref>Sams, p. 282.</ref>

[[World War I]] scattered the writers and artists who had been based in Paris, and in the interim, many became involved with Dada, believing that excessive rational thought and [[bourgeois]] values had brought the conflict of the war upon the world. The Dadaists protested with [[anti-art]] gatherings, performances, writings and art works. After the war, when they returned to Paris, the Dada activities continued.

During the war, [[André Breton]], who had trained in medicine and psychiatry, served in a [[Neurology|neurological]] hospital where he used [[Sigmund Freud]]'s psychoanalytic methods with soldiers suffering from [[shell-shock]]. Meeting the young writer [[Jacques Vaché]], Breton felt that Vaché was the spiritual son of writer and [[pataphysics]] founder [[Alfred Jarry]].  He admired the young writer's anti-social attitude and disdain for established artistic tradition. Later Breton wrote, "In literature, I was successively taken with [[Arthur Rimbaud|Rimbaud]], with Jarry, with Apollinaire, with [[Germain Nouveau|Nouveau]], with [[Comte de Lautréamont|Lautréamont]], but it is Jacques Vaché to whom I owe the most."<ref>Breton, "Vaché is surrealist in me", in ''[[Surrealist Manifesto]]''.</ref>

Back in Paris, Breton joined in Dada activities and started the literary journal ''[[Littérature (magazine)|Littérature]]'' along with [[Louis Aragon]] and [[Philippe Soupault]]. They began experimenting with [[Surrealist automatism|automatic writing]]—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault continued writing evolving their techniques of automatism and published ''[[Les Champs Magnétiques|The Magnetic Fields]]'' (1920).

By October 1924, two rival Surrealist groups had formed to publish a [[Surrealist Manifesto]]. Each claimed to be successors of a revolution launched by Appolinaire. One group, led by [[Yvan Goll]] consisted of [[Pierre Albert-Birot]], [[Paul Dermée]], [[Céline Arnauld]], [[Francis Picabia]], [[Tristan Tzara]], [[Giuseppe Ungaretti]], [[Pierre Reverdy]], [[Marcel Arland]], [[Joseph Delteil]], [[Jean Painlevé]] and [[Robert Delaunay]], among others.<ref>Gérard Durozoi, An excerpt from History of the Surrealist Movement, Chapter Two, 1924–1929, Salvation for Us Is Nowhere, translation by Alison Anderson, U of Chicago Press, pp. 63–74, 2002. {{ISBN|978-0-226-17411-2}}.</ref> The group led by André Breton claimed that [[Surrealist automatism|automatism]] was a better tactic for societal change than those of Dada, as led by Tzara, who was now among their rivals. Breton's group grew to include writers and artists from various [[Media (arts)|media]] such as [[Paul Éluard]], [[Benjamin Péret]], [[René Crevel]], [[Robert Desnos]], [[Jacques Baron]], [[Max Morise]],<ref name="Diary of a Genius">[[Salvador Dalí|Dalí, Salvador]], ''[http://www.bartleby.com/66/82/15682.html Diary of a Genius]'' quoted in ''The Columbia World of Quotations'' (1996) {{webarchive |url=https://web.archive.org/web/20090406060625/http://www.bartleby.com/66/82/15682.html |date=April 6, 2009 }}</ref> [[Pierre Naville]], [[Roger Vitrac]], [[Gala Éluard]], [[Max Ernst]], [[Salvador Dalí]], [[Luis Buñuel]], [[Man Ray]], [[Hans Arp]], [[Georges Malkine]], [[Michel Leiris]], [[Georges Limbour]], [[Antonin Artaud]], [[Raymond Queneau]], [[André Masson]], [[Joan Miró]], [[Marcel Duchamp]], [[Jacques Prévert]], and [[Yves Tanguy]], [[Dora Maar]]<ref name=grove>Dawn Ades, with Matthew Gale: "Surrealism", ''The Oxford Companion to Western Art''. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. [[Oxford University Press]], 2007. Accessed March 15, 2007, [http://www.groveart.com/ GroveArt.com] {{Webarchive|url=https://web.archive.org/web/20080516052642/http://www.groveart.com/ |date=2008-05-16 }}</ref><ref name="sadoul mon ami bunuel">{{cite journal|last=Sadoul|first=Georges|title=Mon ami Buñuel|journal=L'Écran Française|date=12–18 December 1951|volume=335|pages=12}}</ref><ref>{{Cite web |last=Tate |title=Dora Maar |url=https://www.tate.org.uk/whats-on/tate-modern/dora-maar/exhibition-guide |access-date=2024-06-24 |website=Tate |language=en-GB}}</ref>
[[File:La Revolution Surrealiste cover.jpg|thumb|Cover of the first issue of ''[[La Révolution surréaliste]]'', December 1924|left]]
As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the [[Hegelian Dialectics|Hegelian Dialectic]]. They also looked to the [[Dialectical#Marxist dialectic|Marxist dialectic]] and the work of such theorists as [[Walter Benjamin]] and [[Herbert Marcuse]].<ref>{{Cite book |last=Marcuse |first=Herbert |url=https://books.google.com/books?id=l_OEAgAAQBAJ&q=surrealism++&pg=PP1 |title=Art and Liberation: Collected Papers of Herbert Marcuse |date=2007-01-24 |publisher=Routledge |isbn=978-1-134-77452-4 |language=en}}</ref>

Freud's concepts of free association, dream analysis and accessing the unconscious were of crucial importance to the Surrealists in advancing their project to liberate the imagination. They embraced [[idiosyncrasy]], while rejecting the idea of an underlying madness. As Dalí later proclaimed, "There is only one difference between a madman and me. I am not mad."<ref name="Diary of a Genius"/>

Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects."<ref name="PynchonSurralism"/> Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet [[Pierre Reverdy]], which said: "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power and poetic reality."<ref name="Breton (1924)">Breton (1924) ''[http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm Manifesto of Surrealism] {{Webarchive|url=https://web.archive.org/web/20100209063222/http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm |date=2010-02-09 }}.'' [[Pierre Reverdy]]'s comment was published in his journal ''Nord-Sud'', March 1918</ref>

The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects.  They wanted to free people from false rationality, and restrictive customs and structures. Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!" To this goal, at various times Surrealists aligned with [[communism]] and [[anarchism]].

In 1924, two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the [[Bureau of Surrealist Research]] was established and began publishing the journal ''[[La Révolution surréaliste]]''.

===Surrealist Manifestos===
[[File:Yvan Goll, Surréalisme, Manifeste du surréalisme, Volume 1, Number 1, October 1, 1924, cover by Robert Delaunay.jpg|thumb|[[Yvan Goll]], ''Surréalisme'', ''Manifeste du surréalisme'',<ref name="Surréalisme">{{Cite web|url=https://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnaaj19241001-01&e=-------en-20--1--txt-txIN-------|title=Surréalisme 1 October 1924 — Princeton Blue Mountain collection|website=bluemountain.princeton.edu}}</ref> Volume 1, Number 1, October 1, 1924, cover by [[Robert Delaunay]]]]
{{main|Surrealist Manifesto}}
Leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Apollinaire. One group, led by [[Yvan Goll]], consisted of [[Pierre Albert-Birot]], [[Paul Dermée]], [[Céline Arnauld]], [[Francis Picabia]], [[Tristan Tzara]], [[Giuseppe Ungaretti]], [[Pierre Reverdy]], [[Marcel Arland]], [[Joseph Delteil]], [[Jean Painlevé]] and [[Robert Delaunay]], among others.<ref name="Durozoi">{{Cite web|url=https://press.uchicago.edu/Misc/Chicago/174115.html|title=Durozoi, History of the Surrealist Movement, excerpt|website=press.uchicago.edu}}</ref>

The other group, led by Breton, included Aragon, Desnos, Éluard, Baron, Crevel, Malkine, [[Jacques-André Boiffard]] and Jean Carrive, among others.<ref>André Breton, ''Manifestoes of Surrealism'', transl. Richard Seaver and Helen R. Lane (Ann Arbor, 1971), p. 26.</ref>

Yvan Goll published the ''Manifeste du surréalisme'', 1 October 1924, in his first and only issue of ''Surréalisme''<ref name="Surréalisme" /> two weeks prior to the release of Breton's ''Manifeste du surréalisme'', published by Éditions du Sagittaire, 15 October 1924.

Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées,<ref name="Durozoi" /> over the rights to the term Surrealism. In the end, Breton won the battle through tactical and numerical superiority.<ref>{{Cite web|url=https://www.research.manchester.ac.uk/portal/en/projects/the-ahrb-centre-for-studies-of-surrealism-and-its-legacies-project(9182d222-4cfe-489b-a944-4998933b322c).html|title=The AHRB Centre for Studies of Surrealism and its Legacies. &#124; Research Explorer &#124; The University of Manchester|website=www.research.manchester.ac.uk}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=ERMoAyKPKqsC&q=the+first+surrealist+manifesto%2C+Yvan+goll&pg=PA8|title=Yvan Goll—Claire Goll: Texts and Contexts|first1=Eric|last1=Robertson|first2=Robert|last2=Vilain|date=April 6, 1997|publisher=Rodopi|isbn=0854571833|via=Google Books}}</ref> Though the quarrel over the anteriority of Surrealism concluded with the victory of Breton, the history of surrealism from that moment would remain marked by fractures, resignations, and resounding excommunications, with each surrealist having their own view of the issue and goals, and accepting more or less the definitions laid out by André Breton.<ref>{{Cite web|url=http://www.lettresvolees.fr/eluard/surrealisme.html|title=Man Ray / Paul Eluard – Les Mains libres – 1937 – Qu'est-ce que le surréalisme ?|website=www.lettresvolees.fr}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=01gJAajH9m0C&q=manifeste+du+surr%C3%A9alisme%2C+%22La+r%C3%A9alit%C3%A9+est+la+base+de+tout+grand+art%22&pg=PA472|title=La création artistique espagnole à l'épreuve de la modernité esthétique européenne, 1898–1931|first=Denis|last=Vigneron|date=April 6, 2009|publisher=Editions Publibook|isbn=9782748348347|via=Google Books}}</ref>

Breton's 1924 ''Surrealist Manifesto'' defines the purposes of Surrealism. He included citations of the influences on Surrealism, examples of Surrealist works, and discussion of Surrealist automatism. He provided the following definitions:

{{blockquote|'''Dictionary:''' Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.<br /><br />
'''Encyclopedia:''' Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.<ref name="Manifesto of Surrealism" />}}

==Expansion==
{{Original research section|date=April 2021}}
[[File:'Woman with Her Throat Cut', a flor piece by Giacometti, 1932 (cast 1949), Museum of Modern Art, (New York City).jpg|thumb|left|upright|[[Alberto Giacometti|Giacometti]]'s ''Woman with Her Throat Cut'', 1932 (cast 1949), [[Museum of Modern Art|Museum of Modern Art, New York City]]]]
The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games, discussed the theories of Surrealism, and developed a variety of [[Surrealist techniques|techniques]] such as [[Surrealist automatism#Automatic drawing and painting|automatic drawing]]. Breton initially doubted that visual arts could even be useful in the Surrealist movement since they appeared to be less malleable and open to chance and automatism. This caution was overcome by the discovery of such techniques as [[frottage (art)|frottage]], [[grattage]]<ref>José Pierre, ''Surrealism'', Heron, 1970</ref> and [[decalcomania]].

Soon more visual artists became involved, including [[Giorgio de Chirico]], [[Max Ernst]], [[Joan Miró]], [[Francis Picabia]], [[Yves Tanguy]], [[Salvador Dalí]], [[Luis Buñuel]], [[Alberto Giacometti]], [[Valentine Hugo]], [[Méret Oppenheim]], [[Toyen]], and [[Kansuke Yamamoto (artist)|Kansuke Yamamoto]]. Later, after the [[second World War]], [[Enrico Donati]], Vinicius Pradella and Denis Fabbri became involved as well. Though Breton admired [[Pablo Picasso]] and [[Marcel Duchamp]] and courted them to join the movement, they remained peripheral.<ref name="tomkins">[[Calvin Tomkins|Tomkins, Calvin]], ''Duchamp: A Biography''. Henry Holt and Company, Inc, 1996. {{ISBN|0-8050-5789-7}}</ref> More writers also joined, including former Dadaist [[Tristan Tzara]], [[René Char]], and [[Georges Sadoul]].

[[File:Masson automatic drawing.jpg|thumb|[[André Masson]]. Automatic Drawing. 1924. Ink on paper, 23.5&nbsp;×&nbsp;20.6 cm. [[Museum of Modern Art]], New York.]]
In 1925 an autonomous Surrealist group formed in Brussels. The group included the musician, poet, and artist [[E. L. T. Mesens]], painter and writer [[René Magritte]], [[Paul Nougé]], [[Marcel Lecomte]], and [[André Souris]]. In 1927 they were joined by the writer [[Louis Scutenaire]]. They corresponded regularly with the Paris group, and in 1927 both Goemans and Magritte moved to Paris and frequented Breton's circle.<ref name="grove"/> The artists, with their roots in [[Dada]] and [[Cubism]], the abstraction of [[Wassily Kandinsky]], [[Expressionism]], and [[Post-Impressionism]], also reached to older "bloodlines" or [[Proto-Surrealism|proto-surrealists]] such as [[Hieronymus Bosch]], and the so-called primitive and naive arts.

[[André Masson]]'s [[Surrealist automatism#Automatic drawing and painting|automatic drawing]]s of 1923 are often used as the point of the acceptance of visual arts and the break from Dada, since they reflect the influence of the idea of the [[unconscious mind]]. Another example is Giacometti's 1925 ''Torso'', which marked his movement to simplified forms and inspiration from preclassical sculpture.

{{clarify span|date=April 2021|reason=Whose "pairing"? Who is dividing Dada and Surrealism, and along what lines? See Talk.|However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's [[Little Machine Constructed by Minimax Dadamax in Person|''Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen)'']]<ref>[http://www.guggenheim.org/new-york/collections/collection-online/artwork/1129 Link to Guggenheim collection] with reproduction of the painting and further information.</ref> with ''The Kiss (Le Baiser)''<ref>[http://www.guggenheim.org/new-york/collections/collection-online/artwork/1132 Link to Guggenheim collection] with reproduction of the painting and further information.</ref> from 1927 by Max Ernst.}} {{synthesis span|date=April 2021|reason=See Talk#Creeping SYNTH and OR.|The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly.}} In the second the influence of [[Joan Miró|Miró]] and the drawing style of [[Pablo Picasso|Picasso]] is visible with the use of fluid curving and intersecting lines and colour, whereas the first takes a directness that would later be influential in movements such as [[Pop art]].
[[File:The Red Tower by Giorgio de Chirico.jpg|left|thumb|[[Giorgio de Chirico]], ''The Red Tower (La Tour Rouge)'', 1913, [[Solomon R. Guggenheim Museum|Guggenheim Museum]]]]
Giorgio de Chirico, and his previous development of [[metaphysical art]], was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between 1911 and 1917, he adopted an unornamented depictional style whose surface would be adopted by others later. ''The Red Tower (La tour rouge)'' from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His 1914 ''The Nostalgia of the Poet (La Nostalgie du poète)''<ref>[http://www.guggenheim.org/new-york/collections/collection-online/artwork/854 Link to Guggenheim collection] with reproduction of the painting and further information.</ref> has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief defies conventional explanation. He was also a writer whose novel ''[[Hebdomeros]]'' presents a series of dreamscapes with an unusual use of punctuation, syntax, and grammar designed to create an atmosphere and frame its images. His images, including set designs for the [[Ballets Russes]], would create a decorative form of Surrealism, and he would be an influence on the two artists who would be even more closely associated with Surrealism in the public mind: Dalí and Magritte. He would, however, leave the Surrealist group in 1928.

In 1924, Miró and Masson applied Surrealism to painting. The first Surrealist exhibition, ''La Peinture Surrealiste'', was held at Galerie Pierre in Paris in 1925. It displayed works by Masson, [[Man Ray]], [[Paul Klee]], Miró, and others. The show confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), and techniques from Dada, such as [[photomontage]], were used. The following year, on March 26, 1926, Galerie Surréaliste opened with an exhibition by Man Ray. Breton published ''Surrealism and Painting'' in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s.

===Surrealist literature===
{{See also|List of Surrealist poets}}
The first Surrealist work, according to leader Breton, was ''[[Les Chants de Maldoror]]'',<ref>Brêton, André. ''Communicating Vessels''. Trans. Mary Ann Caws & Geoffrey T. Harris. London & Lincoln: U of Nebraska Press/Bison Books, 1990.</ref> and the first work written and published by his group of ''Surréalistes'' was ''[[Les Champs Magnétiques]]'' (May–June 1919).<ref>Breton, André. Les Vases communicants. Paris: Gallimard, 1955.</ref> ''Littérature'' contained automatist works and accounts of dreams. The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones; the poetic undercurrents present. Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which "exist in ambiguous relationships to the visual images."<ref>Vaneigem, Raoul. A Cavalier History of Surrealism. Trans. Donald Nicholson-Smith. Oakland: AK Press, 2000.</ref>

Because Surrealist writers seldom, if ever, appear to organize their thoughts and the images they present, some people find much of their work difficult to parse. This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. But—as in Breton's case—much of what is presented as purely automatic is actually edited and very "thought out". Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since automatic painting required a rather more strenuous set of approaches. Thus, such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in [[Pierre Reverdy]]'s poetry. And—as in Magritte's case (where there is no obvious recourse to either automatic techniques or collage)—the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism was meant to be always in flux—to be more modern than modern—and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose. Artists such as Max Ernst and his surrealist collages demonstrate this shift to a more modern art form that also comments on society.<ref>{{Cite web|last=DANAE|date=2020-01-13|title=Digital Montage: On Collage and the Legacy of Modernism|url=https://medium.com/digital-art-weekly/digital-montage-on-collage-and-the-legacy-of-modernism-ac9043247c61|access-date=2021-02-24|website=Medium|language=en}}</ref>

Surrealists revived interest in Isidore Ducasse, known by his pseudonym [[Comte de Lautréamont]], and for the line "beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella", and [[Arthur Rimbaud]], two late 19th-century writers believed to be the precursors of Surrealism.

Examples of Surrealist literature are Artaud's ''Le Pèse-Nerfs'' (1926), Aragon's ''[[Irene's Cunt]]'' (1927), Péret's ''Death to the Pigs'' (1929), Crevel's ''Mr. Knife Miss Fork'' (1931), [[Sadegh Hedayat]]'s ''[[The Blind Owl]]'' (1937), and Breton's ''Sur la route de San Romano'' (1948).

''[[La Révolution surréaliste]]'' continued publication into 1929 with most pages densely packed with columns of text, but which also included reproductions of art, among them works by de Chirico, Ernst, Masson, and Man Ray. Other works included books, poems, pamphlets, automatic texts and theoretical tracts.

===Surrealist films===
{{Main|Surrealist cinema}}
Early films by Surrealists include:
* ''[[Entr'acte (film)|Entr'acte]]'' by [[René Clair]] (1924)
* ''[[The Seashell and the Clergyman]]'' (''{{langx|fr|La Coquille et le clergyman}}'') by [[Germaine Dulac]], scenario by Antonin Artaud (1928)
* ''[[L'Étoile de mer]]'' by [[Man Ray]] (1928)
* ''[[Un Chien Andalou]]'' by Luis Buñuel and Salvador Dalí (1929)
* ''[[L'Âge d'Or]]'' by Buñuel and Dalí (1930)
* ''[[The Blood of a Poet]]'' (''{{langx|fr|Le sang d'un poète}}'') by Jean Cocteau (1930)
* [[Destino]] by [[Walt Disney]] and [[Salvador Dalí]] (later completed by [[Walt Disney Animation Studios]]) (2003)

=== Surrealist photography ===
Famous Surrealist photographers are the French [[Dora Maar]], the American [[Man Ray]], the French/Hungarian [[Brassaï]], French [[Claude Cahun]] and the Dutch [[Emiel van Moerkerken]].<ref name="Moerkerken">{{Cite book |last=Moerkerken |first=Emiel van |title=Emiel van Moerkerken|date=2011|publisher=D'jonge Hond|others=Moerkerken, Bruno van, Vos, Minke |isbn=978-90-8910-221-8 |location=Zwolle |oclc=731109379}}</ref><ref>{{Cite journal|last=Thynne|first=Lizzie|date=2002-01-01|title=Claude Cahun: an experimental biopic|url=http://dx.doi.org/10.1386/jmpr.2.3.168|journal=Journal of Media Practice|volume=2|issue=3|pages=168–174|doi=10.1386/jmpr.2.3.168|s2cid=191603274|issn=1468-2753|url-access=subscription}}</ref><ref>{{Cite news |last=Ferguson |first=Donna |date=2024-06-16 |title=Rare photographs by Dora Maar cast Picasso's tormented muse in a new light |url=https://www.theguardian.com/artanddesign/article/2024/jun/16/rare-photographs-dora-maar-picasso-tormented-muse |access-date=2024-06-24 |work=The Observer |language=en-GB |issn=0029-7712}}</ref>

===Surrealist theatre===
The word ''surrealist'' was first used by Apollinaire to describe his 1917 play ''[[The Breasts of Tiresias|Les Mamelles de Tirésias]]'' ("The Breasts of Tiresias"), which was later [[Les mamelles de Tirésias|adapted into an opera]] by [[Francis Poulenc]].{{Citation needed|date=February 2021}}

[[Roger Vitrac]]'s ''The Mysteries of Love'' (1927) and ''Victor, or The Children Take Over'' (1928) are often considered the best examples of Surrealist theatre, despite his expulsion from the movement in 1926.<ref>{{Cite book|last=Rapti|first=Vassiliki|url=https://books.google.com/books?id=MOEoDAAAQBAJ&q=Roger+Vitrac:+Un+Reprouv%C3%A9+du+Surr%C3%A9alisme+review&pg=PA3|title=Ludics in Surrealist Theatre and Beyond|date=2016-05-13|publisher=Routledge|isbn=978-1-317-10309-7|language=en}}</ref><ref>{{Cite journal|last=Auslander|first=Philip|date=1980|title=Surrealism in the Theatre: The Plays of Roger Vitrac|url=https://www.jstor.org/stable/3206891|journal=Theatre Journal|volume=32|issue=3|pages=357–369|doi=10.2307/3206891|jstor=3206891|issn=0192-2882|url-access=subscription}}</ref><ref>{{Cite book|url=http://doi.wiley.com/10.1002/9781118476215|title=A Companion to Dada and Surrealism: Hopkins/A Companion to Dada and Surrealism|date=2016-05-24|publisher=John Wiley & Sons, Inc|isbn=978-1-118-47621-5|editor-last=Hopkins|editor-first=David|location=Hoboken, NJ|language=en|doi=10.1002/9781118476215}}</ref> The plays were staged at the [[Theatre Alfred Jarry]], the theatre Vitrac co-founded with [[Antonin Artaud]], another early Surrealist who was expelled from the movement.<ref>{{Cite journal|last=Jannarone|first=Kimberly|date=2005|title=The Theatre before Its Double: Artaud Directs in the Alfred Jarry Theatre|url=https://www.cambridge.org/core/product/identifier/S0040557405000153/type/journal_article|journal=Theatre Survey|language=en|volume=46|issue=2|pages=247–273|doi=10.1017/S0040557405000153|s2cid=194096618|issn=0040-5574|via=|url-access=subscription}}</ref>

Following his collaboration with Vitrac, Artaud would extend Surrealist thought through his theory of the [[Theatre of Cruelty]]. Artaud rejected the majority of Western theatre as a perversion of its original intent, which he felt should be a mystical, metaphysical experience.<ref>{{Cite book|last=Artaud|first=Antonin|url=https://books.google.com/books?id=bmf8CMzu3kIC&q=the+theatre+and+its+double|title=The Theater and Its Double|date=1958|publisher=Grove Press|isbn=978-0-8021-5030-1|language=en}}</ref> Instead, he envisioned a theatre that would be immediate and direct, linking the unconscious minds of performers and spectators in a sort of ritual event, Artaud created  in which emotions, feelings, and the metaphysical were expressed not through language but physically, creating a mythological, archetypal, allegorical vision, closely related to the world of dreams.<ref>{{cite web |url=http://www.arts.gla.ac.uk/Slavonic/Absurd.htm |title=The Theatre Of The Absurd |publisher=Arts.gla.ac.uk |access-date=2009-12-26 |url-status=dead |archive-url=https://web.archive.org/web/20090823075755/http://www.arts.gla.ac.uk/Slavonic/Absurd.htm |archive-date=2009-08-23 }}</ref><ref>{{cite web |url=http://www.holycross.edu/departments/theatre/eisser/semiotics.html |title=Artaud and Semiotics |publisher=Holycross.edu |access-date=2009-12-26 |url-status=dead |archive-url=https://web.archive.org/web/20080906153307/http://www.holycross.edu/departments/theatre/eisser/semiotics.html |archive-date=2008-09-06 }}</ref>

The Spanish playwright and director [[Federico García Lorca]], also experimented with surrealism, particularly in his plays ''[[The Public (play)|The Public]]'' (1930), ''[[When Five Years Pass]]'' (1931), and ''[[Play Without a Title]]'' (1935). Other surrealist plays include Aragon's ''Backs to the Wall'' (1925).<ref>Louis Aragon, ''Backs to the Wall'', in ''The Drama Review'' 18.4 (Dec. 1974): 88–107.</ref> [[Gertrude Stein]]'s opera ''[[Doctor Faustus Lights the Lights]]'' (1938) has also been described as "American Surrealism", though it is also related to a theatrical form of [[cubism]].<ref>Bert Cardullo and Robert Knoff, eds. ''Theater of the Avant-Garde 1890–1950: A Critical Anthology''. New Haven and London: Yale UP, 2001. 421–495.</ref>

===Surrealist music===
{{Main|Surrealist music}}
In the 1920s several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Among them were [[Bohuslav Martinů]], [[André Souris]], [[Erik Satie]],<ref>{{Cite book|last=Potter|first=Caroline|title=Erik Satie: a Parisian Composer and his World|publisher=Boydell and Brewer|year=2016}}</ref> [[Francis Poulenc]],<ref>{{Cite journal|last=Donaldson|first=James|date=2020|title=Reading the Musical Surreal through Poulenc's Fifth Relations|url=https://www.cambridge.org/core/journals/twentieth-century-music/article/abs/reading-the-musical-surreal-through-poulencs-fifth-relations/B3BCE174DEAA32D2398FA0D639A871D9|journal=Twentieth-Century Music|volume=17/2|issue=2|pages=127–160|doi=10.1017/S147857222000002X|s2cid=216261062|url-access=subscription}}</ref><ref>{{Cite book|last=Albright|first=Daniel|title=Untwisting the Serpent: Modernism in Music, Literature, and Other Arts|publisher=University of Chicago Press|year=2000|location=Chicago}}</ref> and [[Edgard Varèse]], who stated that his work ''Arcana'' was drawn from a dream sequence.<ref>{{cite web|author=Bernard, Jonathan W|title=Edgard Varése's "Arcana"|website=American Symphony Orchestra|url=http://americansymphony.org/arcana/|archive-url=https://web.archive.org/web/20170214181019/http://americansymphony.org/arcana/ |archive-date=2017-02-14 }}</ref> Souris in particular was associated with the movement: he had a long relationship with Magritte, and worked on [[Paul Nougé]]'s publication ''Adieu Marie''. Music by composers from across the twentieth century have been associated with surrealist principles, including [[Pierre Boulez]],<ref>{{Cite journal|last=Potter|first=Caroline|date=2018|title=Pierre Boulez, Surrealist|url=http://www.ojs.unito.it/index.php/spazidellamusica/article/view/2997|journal=Gli Spazi della Musica|volume=7}}</ref> [[György Ligeti]],<ref>{{Cite journal|last=Everett|first=Yayoi Uno|date=2009|title=Signification ofParody and the Grotesque in György Ligeti's Le Grand Macabre|journal=Music Theory Spectrum|volume=31/1|pages=26–56|doi=10.1525/mts.2009.31.1.26}}</ref> [[Mauricio Kagel]], [[Olivier Messiaen]],<ref>{{Cite journal|last=Sholl|first=Robert|date=2007|title=Love, Mad Love and the "Point sublime": The Surrealist Poetics of Messiaen's Harawi|journal=Messiaen Studies|pages=34–62}}</ref> and [[Thomas Adès]].<ref>{{Cite journal|last=Massey|first=Drew|date=2018|title=Thomas Adès and the Dilemmas of Musical Surrealism|url=http://www.ojs.unito.it/index.php/spazidellamusica/article/view/2998|journal=Gli Spazi della Musica|volume=7}}</ref><ref>{{Cite news|last=Taruskin|first=Richard|date=1999|title=A Surrealist Composer comes to the Rescue of Modernism|work=The New York Times}}</ref>

[[Germaine Tailleferre]] of the French group [[Les Six]] wrote several works which could be considered to be inspired by Surrealism,<ref>{{Cite journal |last=Heel |first=Kiri Louise |date=2011 |title=Germaine Tailleferre beyond les six, gynocentrism and le marchand d'oiseaux and the six chansons françaises |url=https://purl.stanford.edu/zm744rm1270 |journal=Stanford University, Department of Music |type=Theses |language=en}}</ref> including the 1948 ballet ''Paris-Magie'' (scenario by [[Lise Deharme]]), the operas ''La Petite Sirène'' (book by Philippe Soupault) and ''Le Maître'' (book by Eugène Ionesco).<ref>[https://books.google.com/books?id=V-bSDAAAQBAJ&pg=PT467 Robert Shapiro, ''Les Six: The French Composers and Their Mentors Jean Cocteau and Erik Satie''.] London: Peter Owen, 2014. 467. {{ISBN|978-0-7206-1774-0}}</ref> Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s.

Even though Breton by 1946 responded rather negatively to the subject of music with his essay ''Silence is Golden'', later Surrealists, such as [[Paul Garon]], have been interested in—and found parallels to—Surrealism in the improvisation of [[jazz]] and the [[blues]]. Jazz and blues musicians have occasionally reciprocated this interest. For example, the [[1976 World Surrealist Exhibition]] included performances by [[David "Honeyboy" Edwards]].

==Surrealism and international politics==
Surrealism as a political force developed unevenly around the world: in some places more emphasis was on artistic practices, in other places on political practices, and in other places still, Surrealist praxis looked to supersede both the arts and politics. During the 1930s, the Surrealist idea spread from Europe to North America, South America (founding of the ''[[Mandrágora]]'' group in Chile in 1938), [[Central America]], [[the Caribbean]], and throughout Asia, as both an artistic idea and as an ideology of political change.<ref name="Bauduin et al">[https://books.google.es/books?isbn=135137902X Tessel M. Bauduin, Victoria Ferentinou, Daniel Zamani, ''Surrealism, Occultism and Politics: In Search of the Marvellous''], Routledge, 2017, {{ISBN|1-351-37902-X}}</ref><ref name="Spiteri">[https://books.google.es/books?isbn=0754609898 Raymond Spiteri, Donald LaCoss, ''Surrealism, Politics and Culture''], Volume 16 of ''Studies in European cultural transition'', Ashgate, 2003, {{ISBN|0-7546-0989-8}}</ref>

Politically, Surrealism was [[Trotskyism|Trotskyist]], [[communist]], or [[anarchist]].<ref name="Bauduin et al" /> The split from Dada has been characterised as a split between anarchists and communists, with the Surrealists as communist. Breton and his comrades supported [[Leon Trotsky]] and his [[International Left Opposition]] for a while, though there was an openness to anarchism that manifested more fully after World War II. Some Surrealists, such as [[Benjamin Péret]], Mary Low, and Juan Breá, aligned with forms of [[left communism]]. When the Dutch surrealist photographer [[w:nl:Emiel van Moerkerken|Emiel van Moerkerken]] came to Breton, he did not want to sign the manifesto because he was not a Trotskyist. For Breton being a communist was not enough. Breton denied Van Moerkerken's pictures for a publication afterwards.<ref name="Moerkerken" /> This caused a split in surrealism. Others fought for complete liberty from political ideologies, like [[Wolfgang Paalen]], who, after Trotsky's assassination in Mexico, prepared a schism between art and politics through his counter-surrealist art-magazine ''[[DYN (magazine)|DYN]]'' and so prepared the ground for the abstract expressionists. Dalí supported capitalism and the fascist dictatorship of [[Francisco Franco]] but cannot be said to represent a trend in Surrealism in this respect; in fact, he was considered, by Breton and his associates, to have betrayed and left Surrealism. Benjamin Péret, Mary Low, Juan Breá, and Spanish-native [[Eugenio Granell|Eugenio Fernández Granell]] joined the [[Workers' Party of Marxist Unification|POUM]] during the [[Spanish Civil War]].<ref name="Bauduin et al" /><ref name="Spiteri" />

Breton's followers, along with the [[French Communist Party|Communist Party]], were working for the "liberation of man". However, Breton's group refused to prioritize the [[proletarian]] struggle over radical creation such that their struggles with the Party made the late 1920s a turbulent time for both. Many individuals closely associated with Breton, notably Aragon, left his group to work more closely with the Communists.<ref name="Bauduin et al" /><ref name="Spiteri" />

Surrealists have often sought to link their efforts with political ideals and activities. In the ''Declaration of January 27, 1925'',<ref>{{cite web|url=http://www.fordham.edu/halsall/mod/1925Surrealism.html |title=Modern History Sourcebook: A Surrealist Manifesto, 1925 |publisher=Fordham.edu |date=1925-01-27 |access-date=2009-12-26}}</ref> for example, members of the Paris-based [[Bureau of Surrealist Research]] (including Breton, Aragon and Artaud, as well as some two dozen others) declared their affinity for revolutionary politics. While this was initially a somewhat vague formulation, by the 1930s many Surrealists had strongly identified themselves with communism. The foremost document of this tendency within Surrealism is the ''Manifesto for a Free Revolutionary Art'',<ref>{{cite web|url=https://www.generation-online.org/c/fcsurrealism1.htm|title=Manifesto: Towards a Free Revolutionary Art – Breton/Trotsky(1938)|website=Generation-online.org}}</ref> published under the names of Breton and [[Diego Rivera]], but actually co-authored by Breton and [[Leon Trotsky]].<ref>Lewis, Helena. ''Dada Turns Red''. 1990. University of Edinburgh Press. A history of the uneasy relations between Surrealists and Communists from the 1920s through the 1950s.</ref>

However, in 1933 the Surrealists' assertion that a "[[proletarian literature]]" within a capitalist society was impossible led to their break with the Association des Ecrivains et Artistes Révolutionnaires, and the expulsion of Breton, Éluard and Crevel from the Communist Party.<ref name="grove"/>

In 1925, the Paris Surrealist group and the extreme left of the [[French Communist Party]] came together to support [[Muhammad Ibn 'Abd al-Karim al-Khattabi|Abd-el-Krim]], leader of the [[Rif]] uprising against French colonialism in [[Morocco]]. In an open letter to writer and French ambassador to Japan, [[Paul Claudel]], the Paris group announced:

{{blockquote|We Surrealists pronounced ourselves in favour of changing the imperialist war, in its chronic and colonial form, into a civil war. Thus we placed our energies at the disposal of the revolution, of the proletariat and its struggles, and defined our attitude towards the colonial problem, and hence towards the colour question.}}

The anticolonial revolutionary and proletarian politics of "Murderous Humanitarianism" (1932) which was drafted mainly by Crevel, signed by Breton, Éluard, Péret, Tanguy, and the Martiniquan Surrealists [[Pierre Yoyotte]] and [[J.M. Monnerot]] perhaps makes it the original document of what is later called "black Surrealism",<ref>{{cite web |author-link =Robin Kelley|last=Kelley|first= Robin D. G.|date= November 1999|work = Monthly Review |url =https://monthlyreview.org/1999/11/01/a-poetics-of-anticolonialism/|title=A Poetics of Anticolonialism}}</ref> although it is the contact between [[Aimé Césaire]] and Breton in the 1940s in [[Martinique]] that really lead to the communication of what is known as "black Surrealism".

Anticolonial revolutionary writers in the [[Négritude]] movement of [[Martinique]], a French colony at the time, took up Surrealism as a revolutionary method – a critique of European culture and a radical subjective. This linked with other Surrealists and was very important for the subsequent development of Surrealism as a revolutionary praxis. The journal ''[[Tropiques]]'', featuring the work of Césaire along with [[Suzanne Césaire]], [[René Ménil]], [[Lucie Thésée]], [[Aristide Maugée]] and others, was first published in 1941.<ref>[[Robin Kelley|Kelley, Robin D. G.]] "Poetry and the Political Imagination: Aimé Césaire, Negritude, & the Applications of Surrealism". July 2001</ref>

In 1938 André Breton traveled with his wife, the painter [[Jacqueline Lamba]], to [[Mexico]] to meet Trotsky (staying as the guest of Diego Rivera's former wife Guadalupe Marin), and there he met [[Frida Kahlo]] and saw her paintings for the first time. Breton declared Kahlo to be an "innate" Surrealist painter.<ref>{{cite web |url=http://www.fridakahlofans.com/chronologyenglish.html |title=Frida Kahlo, Paintings, Chronology, Biography, Bio |publisher=Fridakahlofans.com |access-date=2009-12-26 |archive-date=2010-04-02 |archive-url=https://web.archive.org/web/20100402091826/http://www.fridakahlofans.com/chronologyenglish.html |url-status=dead }}</ref>

===Internal politics===
In 1929 the satellite group associated with the journal ''Le Grand Jeu'', including [[Roger Gilbert-Lecomte]], [[Maurice Henry]] and the Czech painter [[Josef Sima]], was ostracized. Also in February, Breton asked Surrealists to assess their "degree of moral competence", and theoretical refinements included in the second ''[[Surrealist Manifesto|manifeste du surréalisme]]'' excluded anyone reluctant to commit to collective action, a list which included Leiris, Limbour, Morise, Baron, Queneau, Prévert, Desnos, Masson and Boiffard. Excluded members launched a counterattack, sharply criticizing Breton in the pamphlet ''[[Un Cadavre]]'', which featured a picture of Breton wearing a [[crown of thorns]]. The pamphlet drew upon an earlier act of subversion by likening Breton to [[Anatole France]], whose unquestioned value Breton had challenged in 1924.

The disunion of 1929–30 and the effects of ''Un Cadavre'' had very little negative impact upon Surrealism as Breton saw it, since core figures such as Aragon, Crevel, Dalí and Buñuel remained true to the idea of group action, at least for the time being. The success (or the controversy) of Dalí and Buñuel's film ''[[L'Age d'Or]]'' in December 1930 had a regenerative effect, drawing a number of new recruits, and encouraging countless new artistic works the following year and throughout the 1930s.

Disgruntled surrealists moved to the periodical ''[[Documents (magazine)|Documents]]'', edited by [[Georges Bataille]], whose anti-idealist materialism formed a hybrid Surrealism intending to expose the base instincts of humans.<ref name="grove"/><ref name="pompidou">[http://www.cnac-gp.fr/education/ressources/ENS-Surrealistart-EN/ENS-Surrealistart-EN.htm Surrealist Art] {{webarchive|url=https://web.archive.org/web/20120918070327/http://www.cnac-gp.fr/education/ressources/ENS-Surrealistart-EN/ENS-Surrealistart-EN.htm |date=2012-09-18 }} from [[Centre Pompidou]]. Retrieved March 20, 2007.</ref> To the dismay of many, ''Documents'' fizzled out in 1931, just as Surrealism seemed to be gathering more steam.

There were a number of reconciliations after this period of disunion, such as between Breton and Bataille, while Aragon left the group after committing himself to the [[French Communist Party]] in 1932. More members were ousted over the years for a variety of infractions, both political and personal, while others left in pursuit of their own style.

By the end of World War II, the surrealist group led by André Breton decided to explicitly embrace anarchism. In 1952 Breton wrote "It was in the black mirror of anarchism that surrealism first recognised itself."<ref name="anarchosurrealism">{{cite web|url=http://libcom.org/history/1919-1950-the-politics-of-surrealism |title=1919–1950: The politics of Surrealism by Nick Heath |publisher=Libcom.org |access-date=2009-12-26}}</ref> Breton was consistent in his support for the [[Fédération Anarchiste|francophone Anarchist Federation]] and he continued to offer his solidarity after the [[Platformism|Platformists]] supporting Fontenis transformed the FA into the Fédération Communiste Libertaire. He was one of the few intellectuals who continued to offer his support to the FCL during the Algerian war when the FCL suffered severe repression and was forced underground. He sheltered Fontenis whilst he was in hiding. He refused to take sides on the splits in the French anarchist movement and both he and Peret expressed solidarity as well with the new [[Fédération anarchiste]] set up by the synthesist anarchists and worked in the Antifascist Committees of the 60s alongside the FA.<ref name="anarchosurrealism"/>

==Golden age==
<!-- Commented out: [[File:The Persistence of Memory.jpg|thumb|[[Salvador Dalí]], ''[[The Persistence of Memory]]'' (1931), [[Museum of Modern Art]], [[Manhattan]]]] -->
Throughout the 1930s, Surrealism continued to become more visible to the public at large. A [[British Surrealist Group|Surrealist group developed in London]] and, according to Breton, their 1936 [[London International Surrealist Exhibition]] was a high-water mark of the period and became the model for international exhibitions. Another English Surrealist group developed [[Birmingham Surrealists|in Birmingham]], meanwhile, and was distinguished by its opposition to the London surrealists and preferences for surrealism's French heartland. The two groups would reconcile later in the decade.

Dalí and Magritte created the most widely recognized images of the movement. Dalí joined the group in 1929 and participated in the rapid establishment of the visual style between 1930 and 1935.

Surrealism as a visual movement had found a method: to expose psychological truth; stripping ordinary objects of their normal significance, to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer.

1931 was a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's ''Voice of Space (La Voix des airs)''<ref>{{cite web |url=http://www.guggenheim.org/new-york/collections/collection-online/artwork/2593?tmpl=component&print=1 |title=Surrealism – Magritte – Voice of Space |publisher=Guggenheim Collection |access-date=2009-12-26 |url-status=dead |archive-url=https://web.archive.org/web/20150319041151/http://www.guggenheim.org/new-york/collections/collection-online/artwork/2593?tmpl=component&print=1 |archive-date=2015-03-19 }}</ref> is an example of this process, where three large spheres representing bells hang above a landscape. Another Surrealist landscape from this same year is Yves Tanguy's ''[[:File:Premontory Palace.jpg|Promontory Palace (Palais promontoire)]]'', with its molten forms and liquid shapes. Liquid shapes became the trademark of Dalí, particularly in his ''[[The Persistence of Memory]]'', which features the image of watches that sag as if they were melting.

The characteristics of this style—a combination of the depictive, the abstract, and the psychological—came to stand for the alienation which many people felt in the [[modernism|modern]] period, combined with the sense of reaching more deeply into the psyche, to be "made whole with one's individuality".

Between 1930 and 1933, the Surrealist Group in Paris issued the periodical ''[[Le Surréalisme au service de la révolution]]'' as the successor of ''La Révolution surréaliste''.

From 1936 through 1938 [[Wolfgang Paalen]], [[Gordon Onslow Ford]], and [[Roberto Matta]] joined the group. Paalen contributed [[Fumage]] and Onslow Ford [[Coulage]] as new pictorial automatic techniques.

Long after personal, political and professional tensions fragmented the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. This program reached beyond painting, to encompass photography as well, as can be seen from a Man Ray self-portrait, whose use of assemblage influenced [[Robert Rauschenberg]]'s collage boxes.
[[File:L'Ange du Foyeur.jpg|thumb|left|[[Max Ernst]], ''L'Ange du Foyer ou le Triomphe du Surréalisme'' (1937), private collection]]
During the 1930s [[Peggy Guggenheim]], an important American art collector, married Max Ernst and began promoting work by other Surrealists such as Yves Tanguy and the British artist [[John Tunnard]].

'''Major exhibitions in the 1930s'''
* 1936 – ''[[London International Surrealist Exhibition]]'' is organised in London by the art historian [[Herbert Read]], with an introduction by André Breton.
* 1936 – [[Museum of Modern Art]] in New York shows the exhibition ''[[Fantastic Art]], Dada and Surrealism''.
* 1938 – A new ''[[Exposition Internationale du Surréalisme]]'' was held at the Beaux-arts Gallery, Paris, with more than 60 artists from different countries, and showed around 300 paintings, objects, collages, photographs and installations. The Surrealists wanted to create an exhibition which in itself would be a creative act and called on Marcel Duchamp, Wolfgang Paalen, Man Ray and others to do so. At the exhibition's entrance Salvador Dalí placed his [[Rainy Taxi]] (an old taxi rigged to produce a steady drizzle of water down the inside of the windows, and a shark-headed creature in the driver's seat and a blond mannequin crawling with live snails in the back) greeted the patrons who were in full evening dress. ''Surrealist Street'' filled one side of the lobby with mannequins dressed by various Surrealists. Paalen and Duchamp designed the main hall to seem like cave with 1,200 coal bags suspended from the ceiling over a coal brazier with a single light bulb which provided the only lighting, as well as the floor covered with humid leaves and mud.<ref>{{cite web|url=http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_8.html |first=Marcel|last= Duchamp |publisher=Toutfait.com |access-date=|title= Twelve Hundred Coal Bags Suspended from the Ceiling over a Stove}}</ref> The patrons were given flashlights with which to view the art. On the floor Wolfgang Paalen created a small lake with grasses and the aroma of roasting coffee filled the air. Much to the Surrealists' satisfaction the exhibition scandalized the viewers.<ref name="tomkins"/>

===World War II and the Post War period===
[[File:Indefinite Divisibility.jpg|thumb|[[Yves Tanguy]] ''Indefinite Divisibility'', 1942, [[Albright Knox Art Gallery]], Buffalo, New York]]
World War II created havoc not only for the general population of Europe but especially for the European artists and writers that opposed Fascism and Nazism. Many important artists fled to North America and relative safety in the United States. The art community in [[Culture of New York City|New York City]] in particular was already grappling with Surrealist ideas and several artists like [[Arshile Gorky]], [[Jackson Pollock]], and [[Robert Motherwell]] converged closely with the surrealist artists themselves, albeit with some suspicion and reservations. Ideas concerning the unconscious and dream imagery were quickly embraced. By the Second World War, the taste of the American [[avant-garde]] in New York swung decisively towards [[Abstract Expressionism]] with the support of key taste makers, including [[Peggy Guggenheim]], [[Leo Steinberg]] and [[Clement Greenberg]]. However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during World War II. In particular, Gorky and Paalen influenced the development of this American art form, which, as Surrealism did, celebrated the instantaneous human act as the well-spring of creativity. The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of [[Dadaist]]ic humor in such artists as [[Rauschenberg]] sheds an even starker light upon the connection. Up until the emergence of [[Pop Art]], Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism.

The Second World War overshadowed, for a time, almost all intellectual and artistic production. In 1939 Wolfgang Paalen was the first to leave Paris for the New World as exile. After a long trip through the forests of British Columbia, he settled in Mexico and founded his influential art-magazine [[DYN (journal)|Dyn]]. In 1940 Yves Tanguy married American Surrealist painter [[Kay Sage]]. In 1941, Breton went to the United States, where he co-founded the short-lived magazine ''[[VVV (magazine)|VVV]]'' with Max Ernst, Marcel Duchamp, and the American artist [[David Hare (artist)|David Hare]]. However, it was the American poet, [[Charles Henri Ford]], and his magazine ''[[View (magazine)|View]]'' which offered Breton a channel for promoting Surrealism in the United States. The ''View'' special issue on Duchamp was crucial for the public understanding of Surrealism in America. It stressed his connections to Surrealist methods, offered interpretations of his work by Breton, as well as Breton's view that Duchamp represented the bridge between early modern movements, such as [[Futurism (art)|Futurism]] and [[Cubism]], to Surrealism. Wolfgang Paalen left the group in 1942 due to political/philosophical differences with Breton.

[[File:The_Conspirators_by_Colin_Middleton_1942lr.jpg |thumb |upright=1.2|left|''The Conspirators'' by Colin Middleton (1942), the Irish Surrealist's response to the [[Belfast Blitz]] ]]
Though the war proved disruptive for Surrealism, the works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. While Dalí may have been excommunicated by Breton, he neither abandoned his themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive pompier. His classic period did not represent so sharp a break with the past as some descriptions of his work might portray, and some, such as [[André Thirion]], argued that there were works of his after this period that continued to have some relevance for the movement. When the war reached Ireland with the [[Belfast Blitz]] in May 1941, [[Colin Middleton]], who had experimented with surrealist themes in the 1930s, responded with a series of dark works reflecting the shocked state of the people of the city. These were exhibited at the [[Ulster Museum|Belfast Municipal Gallery and Museum]] after its restoration in 1943, following near destruction in the blitz.<ref name=PatMurphy>{{cite news |title=Ireland's greatest surrealist |author=Patrick Murphy |newspaper=[[The Irish Times]] |date=31 December 1980 }}</ref>

During the 1940s Surrealism's influence was also felt in England, America and the Netherlands where Gertrude Pape and her husband Theo van Baaren helped to popularize it in their publication The Clean Handkerchief.<ref>{{Cite book|title=Surrealist women : an international anthology|date=1998|publisher=University of Texas Press|others=Rosemont, Penelope. |isbn=978-0-292-77088-1|edition=1st|location=Austin|oclc=37782914|url=https://archive.org/details/surrealistwomeni00rose}}</ref> [[Mark Rothko]] took an interest in [[biomorphism|biomorphic]] figures, and in England [[Henry Moore]], [[Lucian Freud]], [[Francis Bacon (artist)|Francis Bacon]] and [[Paul Nash (artist)|Paul Nash]] used or experimented with Surrealist techniques. However, [[Conroy Maddox]], one of the first British Surrealists whose work in this genre dated from 1935, remained within the movement, and organized an exhibition of current Surrealist work in 1978 in response to an earlier show which infuriated him because it did not properly represent Surrealism. Maddox's exhibition, titled ''Surrealism Unlimited'', was held in Paris and attracted international attention. He held his last one-man show in 2002, and died three years later.  Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in 1951's ''Personal Values (Les Valeurs Personnelles)''<ref>{{Cite web|url=http://www.sfmoma.org/MSoMA/newAWScreen.asp?awScreenNum=5139|archiveurl=https://web.archive.org/web/20081001014708/http://www.sfmoma.org/MSoMA/newAWScreen.asp?awScreenNum=5139 |url-status=dead|title=SFmoma.org|archivedate=October 1, 2008}}</ref> and 1954's ''Empire of Light  (L’Empire des lumières)''.<ref>{{cite web|url=http://www.guggenheim.org/new-york/collections/collection-online/artwork/2594 |title=Artist – Magritte – Empire of Light – Large |publisher= Guggenheim Collection |date= January 1953|access-date=2009-12-26}}</ref> Magritte continued to produce works which have entered artistic vocabulary, such as ''Castle in the Pyrenees (Le Château des Pyrénées)'',<ref>{{Cite web|url=https://artacademieparis.com/wp-content/uploads/2018/05/magritte_Castle-in-the-Pyrenees.jpg |archive-url= https://web.archive.org/web/20180510184620/https://artacademieparis.com/wp-content/uploads/2018/05/magritte_Castle-in-the-Pyrenees.jpg|url-status= dead |website=Artacademieparis|archive-date=May 10, 2018|title = Castle in the Pyrenees|last = Magritte|first = Rene}}</ref> which refers back to ''Voix'' from 1931, in its suspension over a landscape.

Other figures from the Surrealist movement were expelled. Several of these artists, like [[Roberto Matta]] (by his own description) "remained close to Surrealism".<ref name="tomkins"/> Frida Kahlo should be mentioned. She had a New York solo exhibition in 1938 with 25 paintings, encouraged by Breton himself.

After the crushing of the [[Hungarian Revolution of 1956]], [[Endre Rozsda]] returned to Paris to continue creating his own word that had been transcended the surrealism. The preface to his first exhibition in the Furstenberg Gallery (1957) was written by Breton yet.<ref name="breton">Breton, André. ''Surrealism and Painting'', Icon, 1973</ref>

Many new artists explicitly took up the Surrealist banner. [[Dorothea Tanning]] and [[Louise Bourgeois]] continued to work, for example, with Tanning's ''Rainy Day Canape'' from 1970. Duchamp continued to produce sculpture in secret, including his installation depicting a woman realistically, viewed through a peephole: [[Étant_donnés]].

Breton continued to write and espouse the importance of liberating the human mind, as with the publication ''[[The Tower of Light]]'' in 1952. Breton's return to France after the War, began a new phase of Surrealist activity in Paris, and his critiques of rationalism and dualism found a new audience. Breton insisted that Surrealism was an ongoing revolt against the reduction of humanity to market relationships, religious gestures and misery and to espouse the importance of liberating the human mind.

'''Major exhibitions of the 1940s, '50s and '60s'''
* 1942 – ''First Papers of Surrealism'' – New York – The Surrealists again called on Duchamp to design an exhibition. This time he wove a 3-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works.<ref>{{cite web|url=http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_9.html |first=Marcel|last= Duchamp |publisher=Toutfait.com |access-date=|title = Sixteen Miles of String}}</ref> He made a secret arrangement with an associate's son to bring his friends to the opening of the show, so that when the finely dressed patrons arrived, they found a dozen children in athletic clothes kicking and passing balls and skipping rope. His design for the show's catalog included "found", rather than posed, photographs of the artists.<ref name="tomkins"/>
* 1947 – International Surrealist Exhibition – Galerie Maeght, Paris<ref>International Surrealist Exhibition – Galerie Maeght, Paris« L’espace d'exposition comme matrice signifiante: l'exemple de l'exposition internationale du surréalisme à la galerie Maeght à Paris en 1947 », ''Ligiea'', n°73-74-75-76 : Art et espace. Perception et représentation. Le lieu, le visible et l'espace-temps. le geste, le corps et le regard, sous la direction de Giovanni Lista, Paris, juin 2007, p. 230–242.</ref>
* 1959 – International Surrealist Exhibition – Paris
* 1960 – ''Surrealist Intrusion in the Enchanters' Domain'' – New York

==Post-Breton Surrealism==

In the 1960s, the artists and writers associated with the [[Situationist International]] were closely associated with Surrealism. While [[Guy Debord]] was critical of and distanced himself from Surrealism, others, such as [[Asger Jorn]], were explicitly using Surrealist techniques and methods. [[May 1968 events in France|The events of May 1968]] in France included a number of Surrealist ideas, and among the slogans the students spray-painted on the walls of the Sorbonne were familiar Surrealist ones. [[Joan Miró]] would commemorate this in a painting titled ''May 1968.'' There were also groups who associated with both currents and were more attached to Surrealism, such as the [[Revolutionary Surrealist Group]].

During the 1980s, behind the [[Iron Curtain]], Surrealism again entered into politics with an underground artistic opposition movement known as the [[Orange Alternative]]. The Orange Alternative was created in 1981 by [[Waldemar Fydrych]] (alias 'Major'), a graduate of history and art history at the University of [[Wrocław]]. They used Surrealist symbolism and terminology in their large-scale happenings organized in the major Polish cities during the [[Jaruzelski]] regime and painted Surrealist graffiti on spots covering up anti-regime slogans. Major himself was the author of a "Manifesto of Socialist Surrealism". In this manifesto, he stated that the socialist (communist) system had become so Surrealistic that it could be seen as an expression of art itself.

Surrealistic art also remains popular with museum patrons. The [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York City held an exhibit, ''Two Private Eyes'', in 1999, and in 2001 [[Tate Modern]] held an exhibition of Surrealist art that attracted over 170,000 visitors. In 2002 the [[Metropolitan Museum|Met]] in New York City held a show, ''Desire Unbound'', and the [[Centre Georges Pompidou]] in Paris a show called ''La Révolution surréaliste''.

Surrealist groups and literary publications have continued to be active up to the present day, with groups such as the [[Chicago Surrealist Group]], the Leeds Surrealist Group, Peculiar Mormyrid, and [[The Surrealist Group in Stockholm]]. [[Jan Švankmajer]] of the Czech-Slovak Surrealists continues to make films and experiment with objects.

==Impact and influences==
While Surrealism is typically associated with the arts, it has impacted many other fields. In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.<ref>Vaneigem, Raoul (Dupuis Jules-François), ''Histoire désinvolte du surréalisme''. Nonville: Paul Vermont, 1977. {{cite book |last=Vaneigem |first=Raoul |translator-first=Donald |translator-last=Nicholson-Smith |title=A Cavalier History of Surrealism |location=Edinburgh |publisher=AK Press |date=1999 |url=https://theanarchistlibrary.org/library/raoul-vaneigem-a-cavalier-history-of-surrealism.lt.pdf}}</ref> In addition to Surrealist theory being grounded in the ideas of [[Georg Wilhelm Friedrich Hegel|Hegel]], [[Karl Marx|Marx]] and [[Sigmund Freud|Freud]], to its advocates its inherent dynamic is [[dialectic]]al thought.<ref>Vaneigem, Raoul (Dupuis Jules-François), ''Histoire désinvolte du surréalisme''. Nonville: Paul Vermont, 1977. Translated by Donald Nicholson-Smith as [https://theanarchistlibrary.org/library/raoul-vaneigem-a-cavalier-history-of-surrealism.lt.pdf ''A Cavalier History of Surrealism''], Edinburgh: AK Press, 1999. pp. 49–51; 69–73.</ref> Surrealist artists have also cited the [[alchemy|alchemists]], [[Dante Alighieri|Dante]], [[Hieronymus Bosch]],<ref name="thecityreview1">{{cite web|url=http://www.thecityreview.com/surreal.html |title=Surrealism:Two Private Eyes|work = thecityreview.com|first=Carter B. |last=Horsley |archive-url=https://web.archive.org/web/20110615202647/http://www.thecityreview.com/surreal.html|archive-date = 15 June 2011}}</ref><ref>[http://arquivo.pt/wayback/20160524010735/http://www.anthonychristian.co.uk/ezine16.html Anthony Christian, ''Hieronymus Bosch, The First Surrealist'']. Retrieved August 27, 2010.</ref> the [[Marquis de Sade]],<ref name="thecityreview1"/> [[Charles Fourier]], [[Comte de Lautréamont]] and [[Arthur Rimbaud]] as influences.<ref>{{Cite book | url=https://books.google.com/books?id=EPrI92j80r0C&q=rimbaud+and+surrealism&pg=PA17 | title=Surrealism| isbn=978-0-231-06811-6| year=1990| last1=Chénieux-Gendron| first1=Jacqueline| publisher=Columbia University Press}}</ref><ref>{{Cite journal |jstor = 2929720|title = Rimbaud-Father of Surrealism?|journal = Yale French Studies|issue = 31|pages = 45–51|last1 = Bays|first1 = Gwendolyn M.|year = 1964|doi = 10.2307/2929720}}</ref>

===May 68===
Surrealists believe that non-Western cultures also provide a continued source of inspiration for Surrealist activity because some may induce a better balance between instrumental reason and imagination in flight than Western culture.<ref>Choucha, Nadia. Surrealism & the Occult: Shamanism, Alchemy and the Birth of an Artistic Movement. Rochester, Vermont: Destiny; Inner Traditions, 1992.</ref><ref>Deleuze, Gilles. The Logic of Sense. (English translation of Logique du sens. Paris: Les Editions de Minuit, 1969.) Translated by Mark Lester with Charles Stivale; edited by Constantin V. Boundas. New York: Columbia UP, 1990.</ref> Surrealism has had an identifiable impact on radical and revolutionary politics, both directly — as in some Surrealists joining or allying themselves with radical political groups, movements and parties — and indirectly — through the way in which Surrealists emphasize the intimate link between freeing imagination and the mind, and liberation from repressive and archaic social structures. This was especially visible in the [[New Left]] of the 1960s and 1970s and the [[May 1968 in France|French revolt of May 1968]], whose slogan "All power to the imagination" quoted by [[The Situationists]] and [[Enragés#Other groups|Enragés]]<ref>Viénet, Rene. ''Enragés and situationists in the occupation movement, France May '68. New York; London: Autonomedia; Rebel Press, 1992, p.21''</ref> from the originally Marxist "''Rêvé''-lutionary" theory and praxis of Breton's French Surrealist group.<ref>Ford, Simon. ''The Situationist International: A User's Guide''. London: Black Dog, 2005, pp. 112–130.</ref>

===Postmodernism and popular culture===
Many significant literary movements in the later half of the 20th century were directly or indirectly influenced by Surrealism. This period is known as the [[Postmodern]] era; though there is no widely agreed upon central definition of [[Postmodernism]], many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism.

First Papers of Surrealism presented the fathers of surrealism in an exhibition that represented the leading monumental step of the avant-gardes towards installation art.<ref>Demos, T. J. "Duchamp's Labyrinth: "First Papers of Surrealism", 1942." October 97 (2001): 91–119. Accessed March 16, 2021. {{doi|10.2307/779088}}.</ref>  Many writers from and associated with the [[Beat Generation]] were influenced greatly by Surrealists. [[Philip Lamantia]]<ref>Dana Gioia. ''California poetry: from the Gold Rush to the present''.Heyday Books, 2004.{{ISBN|1-890771-72-4}}, {{ISBN|978-1-890771-72-0}}. pg. 154.</ref> and [[Ted Joans]]<ref>Franklin Rosemont, Robin D. G. Kelley. ''Black, Brown, & Beige: Surrealist Writings from Africa and the Diaspora''. University of Texas Press, 2009. {{ISBN|0-292-71997-3}}, {{ISBN|978-0-292-71997-2}}. og. 219–222.</ref> are often categorized as both Beat and Surrealist writers. Many other Beat writers show significant evidence of Surrealist influence. A few examples include [[Bob Kaufman]],<ref>Rosemont, pg. 222–226</ref><ref>Bob Kaufman. ''Cranial Guitar''. Coffee House Press, 1996. {{ISBN|1-56689-038-1}}, {{ISBN|978-1-56689-038-0}}. pg. 28.</ref> [[Gregory Corso]],<ref>Kirby Olson. ''Gregory Corso: doubting Thomist''. SIU Press, 2002. {{ISBN|0-8093-2447-4}}, {{ISBN|978-0-8093-2447-7}}. pg. 75–79.</ref> [[Allen Ginsberg]],<ref>Allen Ginsberg, Lewis Hyde. ''On the poetry of Allen Ginsberg''. University of Michigan Press, 1984. {{ISBN|0-472-06353-7}}, {{ISBN|978-0-472-06353-6}}. pg. 277–278.</ref> and [[Lawrence Ferlinghetti]].<ref>Dave Meltzer. ''San Francisco beat: talking with the poets''. City Lights Books, 2001. {{ISBN|0-87286-379-4}}, {{ISBN|978-0-87286-379-8}}. pg. 82–83.</ref> Artaud in particular was very influential to many of the Beats, but especially Ginsberg and [[Carl Solomon]].<ref>Miles, Barry. Ginsberg: A Biography. London: Virgin Publishing Ltd. (2001), paperback, 628 pages, {{ISBN|0-7535-0486-3}}. pg. 12, 239</ref>  Ginsberg cites Artaud's "Van Gogh – The Man Suicided by Society" as a direct influence on "[[Howl (poem)|Howl]]",<ref>Allen Ginsberg. "Howl: Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography." Ed. Barry Miles. Harper Perennial, 1995. {{ISBN|0-06-092611-2}}. pg. 184.</ref> along with Apollinaire's "Zone",<ref>Ginsberg, pg. 180</ref>  García Lorca's "Ode to Walt Whitman",<ref>pg. 185.</ref> and Schwitters' "Priimiititiii".<ref>Ginsberg, pg. 182.</ref> The structure of Breton's "Free Union" had a significant influence on Ginsberg's "Kaddish".<ref>Miles, pg. 233.</ref>  In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie.<ref>Miles, pg. 242.</ref>

[[William S. Burroughs]], a core member of the Beat Generation and a postmodern novelist, developed the [[cut-up technique]] with former surrealist [[Brion Gysin]]—in which chance is used to dictate the composition of a text from words cut out of other sources—referring to it as the "Surrealist Lark" and recognizing its debt to the techniques of Tristan Tzara.<ref>William S. Burroughs, James Grauerholz, Ira Silverberg. ''Word Virus: The William S. Burroughs Reader''.Grove Press, 2000. 080213694X, 9780802136947. pg. 119, 254.</ref>

Postmodern novelist [[Thomas Pynchon]], who was also influenced by Beat fiction, experimented since the 1960s with the surrealist idea of startling juxtapositions; commenting on the "necessity of managing this procedure with some degree of care and skill", he added that "any old combination of details will not do. Spike Jones Jr., whose father's orchestral recordings had a deep and indelible effect on me as a child, said once in an interview, 'One of the things that people don't realize about Dad's kind of music is, when you replace a C-sharp with a gunshot, it has to be a C-sharp gunshot or it sounds awful.'"<ref name="PynchonSurralism">[[Thomas Pynchon]] (1984) ''[[Slow Learner]]'', p.20</ref>

Many other postmodern fiction writers have been directly influenced by Surrealism.  [[Paul Auster]], for example, has translated Surrealist poetry and said the Surrealists were "a real discovery" for him.<ref>Paul Auster. ''Collected prose: autobiographical writings, true stories, critical essays, prefaces and collaborations with artists''. Macmillan, 2005 {{ISBN|0-312-42468-X}}, 9780312424688. pg. 457.</ref>  [[Salman Rushdie]], when called a Magical Realist, said he saw his work instead "allied to surrealism".<ref>Catherine Cundy. ''Salman Rushdie''. Manchester University Press ND, 1996.{{ISBN|0-7190-4409-X}}, 9780719044090. pg. 98.</ref><ref>Salman Rushdie, Michael Reder. ''Conversations with Salman Rushdie''. Univ. Press of Mississippi, 2000. {{ISBN|1-57806-185-7}}, {{ISBN|978-1-57806-185-3}}. pg. 111, 150</ref> [[David Lynch]] regarded as a surrealist filmmaker being quoted, "David Lynch has once again risen to the spotlight as a champion of surrealism,"<ref>{{Cite web|url=http://facets.org/blog/exclusive/watch/essays/david-lynch-and-surrealism-deconstruction-of-the-lynchian-label/|title=David Lynch and Surrealism: Deconstruction of the 'Lynchian' Label|date=2017-09-02|website=Facets Features|language=en-US|access-date=2020-03-22|archive-date=2020-03-22|archive-url=https://web.archive.org/web/20200322230627/http://facets.org/blog/exclusive/watch/essays/david-lynch-and-surrealism-deconstruction-of-the-lynchian-label/|url-status=dead}}</ref> in regard to his show ''[[Twin Peaks]]''. For the work of other postmodernists, such as [[Donald Barthelme]]<ref>[[Philip Nel]]. ''The Avant-Garde and American Postmodernity: Small Incisive Shocks''. Univ. Press of Mississippi, 2009. 1604732520, 9781604732528. pg. 73–74.</ref> and [[Robert Coover]],<ref>Brian Evenson. ''Understanding Robert Coover''. Univ of South Carolina Press, 2003. {{ISBN|1-57003-482-6}}, {{ISBN|978-1-57003-482-4}}. pg. 4</ref> a broad comparison to Surrealism is common.

[[Magic realism]], a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Surrealism with its juxtaposition of the normal and the dream-like, as in the work of [[Gabriel García Márquez]].<ref>McMurray, George R. "Gabriel García Márquez." Gabriel García Márquez. Ungar, 1977. Rpt. in ''Contemporary Literary Criticism''. Ed. Jean C. Stine and Bridget Broderick. Vol. 27. Detroit: Gale Research, 1984. Literature Resources from Gale. Web. 2 September 2010.</ref>  [[Carlos Fuentes]] was inspired by the revolutionary voice in Surrealist poetry and points to inspiration Breton and Artaud found in Fuentes' homeland, Mexico.<ref>Maarten van Delden. ''Carlos Fuentes, Mexico, and Modernity''. Vanderbilt University Press, 1999.{{ISBN|0-8265-1345-X}}, 9780826513458. pg. 55, 90.</ref>  Though Surrealism was a direct influence on Magic Realism in its early stages, many Magic Realist writers and critics, such as Amaryll Chanady<ref>Maggie Ann Bowers. ''Magic(al) realism''. Routledge, 2004. {{ISBN|0-415-26853-2}}, {{ISBN|978-0-415-26853-0}}. pg. 23–25.</ref> and S. P. Ganguly,<ref>Shannin Schroeder. Rediscovering magical realism in the Americas. Greenwood Publishing Group, 2004. {{ISBN|0-275-98049-9}}, {{ISBN|978-0-275-98049-8}}. pg. 7.</ref> while acknowledging the similarities, cite the many differences obscured by the direct comparison of Magic Realism and Surrealism such as an interest in psychology and the artefacts of European culture they claim is not present in Magic Realism.  A prominent example of a Magic Realist writer who points to Surrealism as an early influence is [[Alejo Carpentier]] who also later criticized Surrealism's delineation between real and unreal as not representing the true South American experience.<ref>Navarro, Gabriel. ''Musica y escrita en Alejo Carpentier'' Alicante: Universidad de Alicante. 1999. {{ISBN|84-7908-476-6}}. pg. 62</ref><ref>Emory Elliott, Cathy N. Davidson. ''The Columbia history of the American novel''. Columbia University Press, 1991. {{ISBN|0-231-07360-7}}, {{ISBN|978-0-231-07360-8}}. pg. 524.</ref>

===Surrealist groups===
{{see also|Category:Surrealist groups}}

Surrealist individuals and groups have carried on with Surrealism after the death of André Breton in 1966. The original Paris Surrealist Group was disbanded by member Jean Schuster in 1969, but another Parisian surrealist group was later formed. The current Surrealist Group of Paris has recently published the first issue of their new journal, ''Alcheringa''. The Group of Czech-Slovak Surrealists never disbanded, and continue to publish their journal ''Analogon'', which now spans almost 100 volumes.

===Surrealism and the theatre===
Surrealist theatre and Artaud's "Theatre of Cruelty" were inspirational to many within the group of playwrights that the critic Martin Esslin called the "[[Theatre of the Absurd]]" (in his 1963 book of the same name). Though not an organized movement, Esslin grouped these playwrights together based on some similarities of theme and technique; Esslin argues that these similarities may be traced to an influence from the Surrealists. [[Eugène Ionesco]] in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history.<ref>Eugène Ionesco. ''Present past, past present: a personal memoir''. Da Capo Press, 1998. {{ISBN|0-306-80835-8}}. pg. 148.</ref><ref>Rosette C. Lamont. Ionesco's imperatives: the politics of culture. University of Michigan Press, 1993. {{ISBN|0-472-10310-5}}. pg. 41–42</ref> [[Samuel Beckett]] was also fond of Surrealists, even translating much of the poetry into English.<ref>James Knowlson. ''Damned to Fame: The Life of Samuel Beckett''. London. Bloomsbury Publishing, 1997. {{ISBN|0-7475-3169-2}}., pg. 65</ref><ref>Daniel Albright. ''Beckett and aesthetics''. Cambridge University Press, 2003. {{ISBN|0-521-82908-9}}. pg. 10</ref> Other notable playwrights whom Esslin groups under the term, for example [[Arthur Adamov]] and [[Fernando Arrabal]], were at some point members of the Surrealist group.<ref>{{cite book|last=Esslin|page= 89|url=https://books.google.com/books?id=eKOrGfbC624C&pg=PA89|title = The Theatre of the Absurd|date= 6 January 2004|publisher= Knopf Doubleday Publishing|isbn= 9781400075232}}</ref><ref>Justin Wintle. ''Makers of modern culture''. Routledge, 2002. {{ISBN|0-415-26583-5}}. pg. 3</ref><ref>C. D. Innes. ''Avant garde theatre, 1892–1992''.Routledge, 1993. {{ISBN|0-415-06518-6}}. pg. 118.</ref>

Alice Farley is an American-born artist who became active during the 1970s in San Francisco after training in dance at the California Institute of the Arts.<ref name=":0">{{Cite book|title=Surrealist Women: An International Anthology|last=Rosemont|first=Penelope|publisher=University of Texas|year=1998|isbn=978-0-292-77088-1|location=Austin, Texas|pages=[https://archive.org/details/surrealistwomeni00rose/page/208 208, 292, 356–358, 383, 438, 439]|url=https://archive.org/details/surrealistwomeni00rose/page/208}}</ref> Farley uses vivid and elaborate costuming that she describes as "the vehicles of transformation capable of making a character's thoughts visible".<ref name=":0" /> Often collaborating with musicians such as [[Henry Threadgill]], Farley explores the role of improvisation in dance, bringing in an automatic aspect to the productions.<ref>{{Cite journal|last1=Farley|first1=Alice|last2=Threadgill|first2=Henry|last3=Field|first3=Thalia|last4=Morrow|first4=Bradford|date=1997|title=Erotec [the human life of machines]: An Interview with Alice Farley and Henry Threadgill|journal=Conjunctions|issue=28|pages=229–240|issn=0278-2324|jstor=24515633}}</ref> Farley has performed in a number of surrealist collaborations including the [[World Surrealist Exhibition]] in Chicago in 1976.<ref name=":0" /><ref>{{Cite journal |last=Susik |first=Abigail |date=2021-12-08 |title='Always for Pleasure': Chicago Surrealism and Fashion, An Interview with Penelope Rosemont |url=https://jsa-asu.org/index.php/JSA/article/view/228 |journal=Journal of Surrealism and the Americas |language=en |volume=12 |issue=1 |pages=78–92 |issn=2326-0459}}</ref>

==Alleged precursors in older art==
Various much older artists are sometimes claimed as precursors of Surrealism. Foremost among these are [[Hieronymus Bosch]]<ref>{{Cite web|url=https://www.artsy.net/article/artsy-editorial-bosch-describe-high-fashion-heavy-metal|title=Why Bosch Is Used to Describe Everything from High Fashion to Heavy Metal|last=Cohen|first=Alina|date=2018-04-24|website=Artsy|access-date=2019-04-23}}</ref> and [[Giuseppe Arcimboldo]], whom Dalí called the "father of Surrealism."<ref>{{Cite web|url=https://nationalpost.com/afterword/giuseppe-arcimboldo-the-prince-of-produce-portraiture|title=Giuseppe Arcimboldo: The prince of produce portraiture|website=nationalpost}}</ref>  Apart from their followers, other artists who may be mentioned in this context include [[Joos de Momper]], for some [[anthropomorphic]] landscapes.  Many critics feel these works belong to [[fantastic art]] rather than having a significant connection with Surrealism.<ref>"...the tendency to interpret Bosch's imagery in terms of modern Surrealism or Freudian psychology is anachronistic. We forget too often that Bosch never read Freud and that modern psychoanalysis would have been incomprehensible to the medieval mind... Modern psychology may explain the appeal Bosch's pictures have for us, but it cannot explain the meaning they had for Bosch and his contemporaries. Bosch did not intend to evoke the subconscious of the viewer, but to teach him certain moral and spiritual truths, and thus his images generally had a precise and premeditated significance." {{Cite book|title=Hieronymus Bosch, c. 1450–1516 : between heaven and hell|last=Bosing, Walter.|date=2000|publisher=Taschen|isbn=3-8228-5856-0|location=London|oclc=45329900}}</ref>

==See also==

* [[:Category:Surrealist artists|Surrealist artists]]
* [[Wilfred Bion#Bizarre object|Bizarre Object]]
* [[List of films influenced by the Surrealist movement]]
* [[Surrealist cinema]]
* [[Women surrealists]]
* [[Exquisite corpse]]
* {{annotated link|Neo-Fauvism}}
* {{annotated link|Organic Surrealism}}
* {{annotated link|Outsider art}}
* [[Psychedelic music]]
* {{annotated link|Psychedelic art}}
* {{annotated link|Salón de Mayo}} (Cuba)

==References==
{{Reflist|30em}}

==Bibliography==
; [[André Breton]]
* ''Manifestoes of Surrealism'' containing the first, second and introduction to a possible third manifesto, the novel ''The Soluble Fish'', and political aspects of the Surrealist movement. {{ISBN|0-472-17900-4}} .
* ''What is Surrealism?: Selected Writings of André Breton''. {{ISBN|0-87348-822-9}} .
* ''Conversations: The Autobiography of Surrealism'' (Gallimard 1952) (Paragon House English rev. ed. 1993). {{ISBN|1-56924-970-9}}.
* ''The Abridged Dictionary of Surrealism'', reprinted in:
** Bonnet, Marguerite, ed. (1988). ''Oeuvres complètes'', 1:328. Paris: Éditions Gallimard.

; Other sources
* Ades, Dawn. ''Surrealism in Latin America: Vivisimo Muerto'', Los Angeles: Getty Publications, 2012. {{ISBN|978-1-60606-117-6}}
* Alexandrian, Sarane. ''Surrealist Art'' London: Thames & Hudson, 1970.
* [[Guillaume Apollinaire|Apollinaire, Guillaume]]  1917, 1991. Program note for ''Parade'', printed in ''Oeuvres en prose complètes'', 2:865–866, Pierre Caizergues and Michel Décaudin, eds. Paris: Éditions Gallimard.
* Allmer, Patricia (ed.) ''Intersections – Women Artists/Surrealism/Modernism'', Rethinking Art's Histories series, Manchester, Manchester University Press, 2016.
* Allmer, Patricia and Donna Roberts (eds) '"Wonderful Things" – Surrealism and Egypt', ''Dada/Surrealism'', University of Iowa, 20:1, 2013.
* Allmer, Patricia (ed.) ''Angels of Anarchy: Women Artists and Surrealism'', London and Manchester: Prestel and Manchester Art Gallery, 2009.
* Allmer, Patricia and Hilde van Gelder (eds.) ''Collective Inventions: Surrealism in Belgium'', Leuven: Leuven University Press, 2007. 
* Allmer, Patricia and Hilde Van Gelder (eds.) 'The Forgotten Surrealists: Belgian Surrealism Since 1924', ''Image [&] Narrative'', no. 13, 2005.
* Brotchie, Alastair and Gooding, Mel, eds. ''A Book of Surrealist Games'' Berkeley, California: Shambhala, 1995. {{ISBN|1-57062-084-9}}.
* [[Mary Ann Caws|Caws, Mary Ann]] ''Surrealist Painters and Poets: An Anthology'' 2001, MIT Press.
* Chadwick, Whitney. ''Mirror Images: Women, Surrealism, and Self-Representation''. The MIT Press, 1998. {{ISBN|978-0-262-53157-3}}
* Chadwick, Whitney. ''Women Artists and the Surrealist Movement''. 1985, Bulfinch Press. {{ISBN|978-0-8212-1599-9}}
* Durozoi, Gerard, ''History of the Surrealist Movement'' Translated by Alison Anderson University of Chicago Press. 2004. {{ISBN|0-226-17411-5}}.
* Flahutez, Fabrice, ''Nouveau Monde et Nouveau Mythe. Mutations du surréalisme de l'exil américain à l'écart absolu (1941–1965)'', Les presses du réel, Dijon, 2007.
* Flahutez, Fabrice(ed.), Julia Drost (ed.), Anne Helmreich (ed.), Martin Schieder (ed.), ''Networking Surrealism in the United States. Artists, Agents and the Market'', T.1., Paris, DFK, 2019, 400p. ({{ISBN|978-3-947449-50-7}}) (PDF) https://doi.org/10.11588/arthistoricum.485
* Fort, Ilene Susan and Tere Arcq, editors. ''In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States'', Munich: Prestel Verlag, 2012.
* Foster, Hal, ''Compulsive Beauty'', The MIT Press, 1995. {{ISBN|9780262560818}}
* Galtsova, Elena. ''Surrealism and Theatre. On the Theatrical Aesthetics of the French Surrealism'', Moscow, Russian State University for the Humanities, 2012, {{ISBN|978-5-7281-1146-7}}
* {{cite book|author=David Hopkins|title=Dada and Surrealism: A Very Short Introduction|year=2004|publisher=Oxford University Press|isbn=978-0-19-280254-5}}
* Krauss, Rosalind; Livingston, Jane; Ades, Dawn, L'Amour fou: Photography and Surrealism, Abbeville Press, 1985. {{ISBN|9780896595767}}
* Leddy, Annette and Conwell, Donna. ''Farewell to Surrealism: The Dyn Circle in Mexico'', Los Angeles: Getty Publications. 2012. {{ISBN|978-1-60606-118-3}}
* Lewis, Helena.  ''Dada Turns Red.''  Edinburgh, Scotland: University of Edinburgh Press, 1990.
* Low Mary, Breá Juan, ''Red Spanish Notebook'', City Light Books, Sans Francisco, 1979, {{ISBN|0-87286-132-5}}
* Melly, George ''Paris and the Surrealists'' Thames & Hudson. 1991.
* Moebius, Stephan. ''Die Zauberlehrlinge. Soziologiegeschichte des Collège de Sociologie. Konstanz: UVK 2006. About the [[College of Sociology]], its members and sociological impacts.''
* Nadeau, Maurice. ''History of Surrealism''. Cambridge, Massachusetts: Belknap Press, 1989. {{ISBN|0-674-40345-2}}.
* Polizzotti, Mark. ''Why Surrealism Matters''. Yale University Press, 2024. Review: Saler, Michael, [https://www.wsj.com/arts-culture/books/why-surrealism-matters-review-utopia-of-the-imagination-5835f221 "'Why Surrealism Matters' Review: Utopia of the Imagination"], [[The Wall Street Journal]], February 23, 2024.
* Richard Jean-Tristan. ''Les structures inconscientes du signe pictural/Psychanalyse et surréalisme'' (''Unconscious structures of pictural sign''), L'Harmattan ed., Paris (France), 1999
* Review "Mélusine" in French by Center of surrealism studies directed by Henri Behar since 1979, edited by Editions l'Age d'Homme, Lausanne, Suisse. Download platform www.artelittera.com  14.00
* {{cite book | chapter = Poulenc, Francis | title = The Penguin Opera Guide | author = Sams, Jeremy | editor = Amanda Holden | location = London | publisher = Penguin Books | year = 1997 | orig-year = 1993 | isbn = 978-0-14-051385-1 | url = https://archive.org/details/operaguidepengui00nich}}

; Anthologies
* ''Contemporary Tangential Surrealist Poetry: An Anthology''. Ed. by Tony Kitt. Dublin: SurVision Books, 2023. {{ISBN|978-1-912963-44-7}}.
* ''message-door: An Anthology of Contemporary Surrealist Poetry from Russia''. Ed. and trans. by [[Anatoly Kudryavitsky]]. Dublin: SurVision Books, 2020. {{ISBN|978-1-912963-17-1}}.
* ''Seeds of Gravity: An Anthology of Contemporary Surrealist Poetry from Ireland''. Ed. by [[Anatoly Kudryavitsky]]. Dublin: SurVision Books, 2020. {{ISBN|978-1-912963-18-8}}.

==External links==
{{Commons category}}
{{Wiktionary|surrealism}}
{{Wikiquote}}
<!-- ATTENTION! Please do not add links without discussion and consensus on the talk page. Undiscussed links will be removed.-->

===André Breton writings===
* [http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm ''Manifesto of Surrealism'' by André Breton. 1924.] {{Webarchive|url=https://web.archive.org/web/20100209063222/http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm |date=2010-02-09 }}
* [https://web.archive.org/web/20160207230811/https://pers-www.wlv.ac.uk/~fa1871/whatsurr.html ''What is Surrealism?'' Lecture by Breton, Brussels 1934]

===Overview websites===
* [https://web.archive.org/web/20120918070327/http://www.cnac-gp.fr/education/ressources/ENS-Surrealistart-EN/ENS-Surrealistart-EN.htm Timeline of Surrealism] from [[Centre Pompidou]].
* [http://www.site-magister.com/surrealis.htm Le Surréalisme] {{in lang|fr}}
* [http://www.ltmrecordings.com/surrealismreviewednotes.html ''Surrealism Reviewed'' audiobook (archive recordings)]
* [http://www.bbc.co.uk/programmes/p00547l1 "Surrealism"], BBC Radio 4 discussion with Dawn Adiss, Malcolm Bowie and Darien Leader (''In Our Time'', Nov. 15, 2001)

===Surrealism and politics===
* {{cite web|url=http://libcom.org/history/1919-1950-the-politics-of-surrealism |title=1919–1950: The politics of Surrealism  |last=Heath |first=Nick |publisher=Libcom.org }}
* {{cite web|url=http://www.marcuse.org/herbert/pubs/70spubs/73surreal/arsenalindex.htm |title=Herbert Marcuse and Surrealism  |last=Rosemont|first=Franklin|year=1989|work=Arsenal vol. 4 }}
* {{Cite news|url=https://www.theguardian.com/uk/2007/mar/28/topstories3.artnews |title=How the surrealists sold out  |last=Kennedy |first=Maev |date=2007-03-27 |work=[[The Guardian]] }}

===Surrealist poetry===
* {{cite web |url=http://alangullette.com/essays/lit/surreal.htm |title=The Theory and Techniques of Surrealist Poetry |last=Gullette |first=Alan |access-date=2009-05-17 |archive-url=https://web.archive.org/web/20110718140135/http://alangullette.com/essays/lit/surreal.htm |archive-date=2011-07-18 |url-status=dead }}
* [http://www.textetc.com/modernist/surrealism.html Surrealism in Poetry] Holcombe, C. J.
* [http://www.alb-neckar-schwarzwald.de/surrealism/surrealism.html A sample of French Surrealist poetry]
* {{cite book | last = Jackaman | first = Rob | title = The course of English surrealist poetry since the 1930s | publisher = [[Edwin Mellen Press]] | year = 1989 | location = [[Lewiston, New York]] | url = https://books.google.com/books?id=DV9_6DAOSscC | isbn = 978-0-88946-932-7 }}
* [http://www.benjamin-peret.org/documents/128-aime-cesaire-et-le-surrealisme.html Aimé Césaire and Surrealism] {{Webarchive|url=https://web.archive.org/web/20100919154241/http://www.benjamin-peret.org/documents/128-aime-cesaire-et-le-surrealisme.html |date=2010-09-19 }} {{in lang|fr}}

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