André Breton

Breton launched the review Littérature in 1919, with Louis Aragon and Philippe Soupault.[10] He also associated with Dadaist Tristan Tzara.[11] In 1924, he was instrumental in the founding of the Bureau of Surrealist Research.[12]

In Les Champs Magnétiques[13] (The Magnetic Fields), a collaboration with Soupault, he implemented the principle of automatic writing. He published the Surrealist Manifesto in 1924, and was editor of the magazine La Révolution surréaliste from that year on. A group of writers became associated with him: Soupault, Louis Aragon, Paul Éluard, René Crevel, Michel Leiris, Benjamin Péret, Antonin Artaud, and Robert Desnos.

Anxious to combine the themes of personal transformation found in the works of Arthur Rimbaud with the politics of Karl Marx, Breton joined the French Communist Party in 1927, from which he was expelled in 1933. Nadja, a novel about his encounter with an imaginative woman who later became mentally ill, was published in 1928. Breton celebrated the concept of Mad Love, and many women joined the surrealist group over the years. Toyen was a good friend. During this time, he survived mostly by the sale of paintings from his art gallery.[14][15]

In 1930, Un Cadavre, a pamphlet, was written and released by several members of the surrealist movement who were insulted by Breton or had otherwise disbelieved in his leadership.[16]^:299–302 The pamphlet criticized Breton's oversight and influence over the movement. It marked a divide amidst the early surrealists.

In 1935, there was a conflict between Breton and the Soviet writer and journalist Ilya Ehrenburg during the first International Congress of Writers for the Defense of Culture, which opened in Paris in June. Breton had been insulted by Ehrenburg—along with all fellow surrealists—in a pamphlet which said, among other things, that surrealists were "pederasts". Breton slapped Ehrenburg several times on the street, which resulted in surrealists being expelled from the Congress. René Crevel, who according to Salvador Dalí was "the only serious communist among surrealists",[17] was isolated from Breton and other surrealists, who were unhappy with Crevel because of his bisexuality and annoyed with communists in general.[14]

In 1938, Breton accepted a cultural commission from the French government to travel to Mexico. After a conference at the National Autonomous University of Mexico about surrealism, Breton stated after getting lost in Mexico City (as no one was waiting for him at the airport) "I don't know why I came here. Mexico is the most surrealist country in the world".

However, visiting Mexico provided the opportunity to meet Leon Trotsky. Breton and other surrealists traveled via a long boat ride from Patzcuaro to the town of Erongarícuaro. Diego Rivera and Frida Kahlo were among the visitors to the hidden community of intellectuals and artists. Together, Breton and Trotsky wrote the Manifesto for an Independent Revolutionary Art (published under the names of Breton and Diego Rivera) calling for "complete freedom of art", which was becoming increasingly difficult with the world situation of the time.

Breton was again in the medical corps of the French Army at the start of World War II. The Vichy government banned his writings as "the very negation of the national revolution"[18] and Breton escaped, with the help of the American Varian Fry and Hiram "Harry" Bingham IV, to the United States and the Caribbean during 1941.[19][20] He emigrated to New York City and lived there for a few years.[3] In 1942, Breton organized a groundbreaking surrealist exhibition at Yale University.[3]

In 1942,[21] Breton collaborated with artist Wifredo Lam on the publication of Breton's poem "Fata Morgana", which was illustrated by Lam.

Breton got to know Martinican writer Aimé Césaire, and later composed the introduction to the 1947 edition of Césaire's Cahier d'un retour au pays natal. During his exile in New York City he met Elisa Bindhoff, the Chilean woman who would become his third wife.[14]

In 1944, he and Elisa traveled to the Gaspé Peninsula in Québec, where he wrote Arcane 17, a book which expresses his fears of World War II, describes the marvels of the Percé Rock and the extreme northeastern part of North America, and celebrates his new romance with Elisa.[14]

During his visit to Haiti in 1945–46, he sought to connect surrealist politics and automatist practices with the legacies of the Haitian Revolution and the ritual practices of Vodou possession. Recent developments in Haitian painting were central to his efforts, as can be seen from a comment that Breton left in the visitors' book at the Centre d'Art in Port-au-Prince: "Haitian painting will drink the blood of the phoenix. And, with the epaulets of [Jean-Jacques] Dessalines, it will ventilate the world." Breton was specifically referring to the work of painter and Vodou priest Hector Hyppolite, whom he identified as the first artist to directly depict Vodou scenes and the lwa (Vodou deities), as opposed to hiding them in chromolithographs of Catholic saints or invoking them through impermanent vevé (abstracted forms drawn with powder during rituals). Breton's writings on Hyppolite were undeniably central to the artist's international status from the late 1940s on, but the surrealist readily admitted that his understanding of Hyppolite's art was inhibited by their lack of a common language. Returning to France with multiple paintings by Hyppolite, Breton integrated this artwork into the increased surrealist focus on the occult, myth, and magic.[22]

Breton in the 1960s

Breton returned to Paris in 1946, where he opposed French colonialism (for example as a signatory of the Manifesto of the 121 against the Algerian War) and continued, until his death, to foster a second group of surrealists in the form of expositions or reviews (La Brèche, 1961–65). In 1959, he organized an exhibit in Paris.[14]

By the end of World War II, André Breton decided to embrace anarchism explicitly. In 1952, Breton wrote "It was in the black mirror of anarchism that surrealism first recognised itself."[23] Breton consistently supported the francophone Anarchist Federation and he continued to offer his solidarity after the Platformists around founder and Secretary General Georges Fontenis transformed the FA into the Fédération communiste libertaire.[14][23]

Like a small number of intellectuals during the time of the Algerian War, he continued to support the FCL when it was forced to go underground, even providing shelter to Fontenis, who was in hiding. He refused to take sides in the politically divided French anarchist movement, even though both he and Péret) expressed solidarity to the new Anarchist Federation rebuilt by a group of synthesist anarchists. He also worked with the FA in the Anti-Fascist Committees in the 1960s.[23]

Breton was an avid collector of art, ethnographic material, and unusual trinkets. He was particularly interested in materials from the northwest coast of North America. During a financial crisis he experienced in 1931, most of his collection (along with that of his friend Paul Éluard) was auctioned. He subsequently rebuilt the collection in his studio and home at 42 rue Fontaine. The collection grew to over 5,300 items: modern paintings, drawings, sculptures, photographs, books, art catalogs, journals, manuscripts, and works of popular and Oceanic art.[25]

French anthropologist Claude Lévi-Strauss, in an interview in 1971, spoke about Breton's skill in determining the authenticity of objects. Strauss even described their friendship while the two were living in New York: "We lived in New York between 1941 and 1945 in a great friendship, running museums and antiquarians together. I owe him a lot about the knowledge and appreciation of objects. I've never seen him [Breton] doing a mistake on exotic and unusual objects. When I say a mistake, I mean about its authenticity but also its quality. He [Breton] had a sense, almost of divination."[15]

After Breton's death on 28 September 1966, his third wife, Elisa, and his daughter, Aube, allowed students and researchers access to his archive and collection. After thirty-six years, when attempts to establish a surrealist foundation to protect the collection were opposed, the collection was auctioned by Calmels Cohen at Drouot-Richelieu. A wall of the apartment is preserved at the Centre Georges Pompidou.[26]

Nine previously unpublished manuscripts, including the Manifeste du surréalisme, were auctioned by Sotheby's in May 2008.[27]

Breton married three times:[14]

• from 1921 to 1931, to Simone Collinet, née Kahn (1897–1980);
• from 1934 to 1943, to Jacqueline Lamba, with whom he had his only child, a daughter, Aube Elléouët Breton;
• from 1945 to 1966 (his death), to Elisa Bindhoff Enet.