In 1924, Miro and Masson applied Surrealism theory to painting explicitly leading to the La Peinture Surrealiste exhibition.
Eugene Ionesco in particular was fond of Surrealism, claiming at one point that Breton was one of the most important thinkers in history.
One of the pioneers in feminist critique of Surrealism was Xaviиre Gauthier.
Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s.
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.
The foremost document of this tendency within Surrealism is the "Manifesto for a Free Revolutionary Art" published under the names of Breton and Diego Rivera but actually co-authored by Breton and Leon Trotsky.
Their leader, Frenchman Andrй Breton, was explicit in his assertion that Surrealism was above all a revolutionary movement.
Giorgio de Chirico's development of Metaphysical art was one of the important connecting figures between the philosophical and visual aspects of Surrealism.
Breton insisted that 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 of the human mind.
Surrealism is a cultural movement that began in the mid-1920s, and is best known for the visual artworks and writings of the group members.
Surrealism has had an identifiable impact on radical and revolutionary politics, both directly—as some Surrealists joined or allied themselves with radical political groups, movements and parties—as well as indirectly through it philosophical orientation.
Many other Beat writers claimed Surrealism as a significant influence.
Monoculture and pollinator decline (of many bee species) have increasingly caused honeybee keepers to become migratory so that bees can be concentrated in areas of pollination needed at the appropriate season.
Breton proclaimed, the true aim of Surrealism is "long live the social revolution, and it alone!"
The prominence of Magic Realism in Latin American literature is often credited in some part to the direct influence of Surrealism on Latin American artists like Frida Kahlo.
Maddox's exhibition, titled Surrealism Unlimited, was held in Paris and attracted international attention.
Many significant literary movements in the later half of the twentieth century were directly or indirectly influenced by Surrealism.
During the 1980s, behind the Iron Curtain, Surrealism again entered into politics with an underground artistic opposition movement known as the Orange Alternative.
Veristic Surrealism depicts with meticulous clarity and in great detail a world analogous to the dream world.
The former curator of the San Francisco Museum of Modern Art, Michael Bell, has called this style of Surrealism "veristic Surrealism."
Major himself was the author of a "Manifesto of Socialist Surrealism."
Several of these artists, like Roberto Matta (by his own description) "remained close to Surrealism.
The groups came together intending to reawaken the radical political potential of Surrealism.
Anticolonial revolutionary writers in the Nйgritude movement of Martinique, a French colony at the time, took up Surrealism as a revolutionary method to critique European culture.
Breton wrote the manifesto of 1924 (another was issued in 1929) that defines the purposes of the group and includes citations of the influences on Surrealism, examples of Surrealist works and discussion of Surrealist automatism.
From the Dada activities of World War I Surrealism was formed with the most important center of the movement in Paris and from the 1920s spreading around the globe.
The View special issue on Duchamp was crucial for the public understanding of Surrealism in America.
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.
Perhaps the writers within the Postmodern era who have the most in common with Surrealism are the playwrights of Theater of the Absurd.
Lindall produced a New International Surrealist Manifesto and created the show Brave Destiny at the Williamsburg Art & Historical Center in 2003, expressing this broad notion of Surrealism as an artistic style.
Soon more visual artists joined Surrealism including Giorgio de Chirico, Salvador Dalн, Enrico Donati, Alberto Giacometti, Valentine Hugo, Mйret Oppenheim, Toyen, Grйgoire Michonze, and Luis Buсuel.
Freud initiated the psychoanalytic critique of Surrealism with his remark that what interested him most about the Surrealists was not their unconscious but their conscious.
During the 1940s Surrealism's influence was also felt in England and America.
Throughout the 1930s, Surrealism continued to become more visible to the public at large.
Many themes and techniques commonly identified with Postmodernism are nearly identical to Surrealism.
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.