Abstract
Abstract By 1929, the Surrealist movement in France had begun to seriously stagnate, and there was widespread dissatisfaction among its members. Some of the latter wanted to pursue a closer alliance with the French Communist Party; others wanted greater freedom to explore various commercial avenues that were available to them. In order to remedy this situation, André Breton decided to publish a second manifesto, which, somewhat paradoxically, not only introduced the concept of ‘the supreme point’ but also redefined the nature of the Surrealist act. Offsetting those members who either abandoned the movement or were expelled from it, a new group of converts joined the Surrealist cause, including Salvador Dalí, Max Ernst, and Luis Buñuel. These in turn contributed new creative energy to the enterprise and created a number of striking masterpieces.
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