Leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume 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.[11]
The other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others.[12]
Yvan Goll published the "Manifeste du surréalisme," 1 October 1924, in his first and only issue of Surréalisme[10] 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,[11] over the rights to the term Surrealism. In the end, Breton won the battle through tactical and numerical superiority.[13][14]
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.[15][16]
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:
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