Andre Breton, the father of Surrealism, defined the movement as stated above. This was a break from the Dada movement, which didn’t contain art, but revolted against the senseless killing and barbarities of war. At this stage in 1924, here was no mention of painting or artwork associated with the literary movement. The experimentation with language free from conscious control bled over to include photography, cinema, and ultimately, painting. 

Art inspiration came from the works of Giorgio De Chirico, acknowledged as the founder of the surrealist aesthetic. The role of consciousness was minimized as shapes simplified, saturation deepened, and common sense was replaced by unconsciousness. His work, The Evil Genius of a King, contrasts the depictions of harmless children’s toys as well as alludes to the organs assembled on sacrificial alters of augurs in ancient Rome and Etruria.* In these works there are no definite interpretations, but rather emotions that are meant to be taken from the works.

The first group exhibition was held in Paris in 1925. Art displayed included the techniques of frottage and collage used by Max Ernst, the automatic drawings made by Andre Masson, and Man Ray’s rayographs. Shortly after, Miro, Picasso, Magritte, and Dali broke through the scene producing iconic juxtapositions of object, emotion, and unconsciousness. The success of surrealism lies on its lasting impact and revolution of the art community. 

*Merjian, Ara H.(2010). ‘Il faut méditerraniser la peinture’: Giorgio de Chirico’s Metaphysical Painting, Nietzsche, and the Obscurity of Light. California Italian Studies Journal, 1(1).