Computer Graphics Digital Surrealistic Painting Illustration

Breton's followers, along with the Communist Party, were working for the "liberation of man." However, Breton's group refused to prioritize the proletarian struggle over radical creation such that their struggles with the Party made the late 1920s a turbulent time for both. Many individuals closely associated with Breton, notably Louis Aragon, left his group to work more closely with the Communists.
Surrealists have often sought to link their efforts with political ideals and activities. In the Declaration of January 27, 1925, for example, members of the Paris-based Bureau of Surrealist Research (including André Breton, Louis Aragon, and, Antonin Artaud, as well as some two dozen others) declared their affinity for revolutionary politics. While this was initially a somewhat vague formulation, by the 1930s many Surrealists had strongly identified themselves with communism. 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.
However, in 1933 the Surrealists’ assertion that a 'proletarian literature' within a capitalist society was impossible led to their break with the Association des Ecrivains et Artistes Révolutionnaires, and the expulsion of Breton, Éluard and Crevel from the Communist Party.
In 1925, the Paris Surrealist group and the extreme left of the French Communist Party came together to support Abd-el-Krim, leader of the Rif uprising against French colonialism in Morocco. In an open letter to writer and French ambassador to Japan, Paul Claudel, the Paris group announced: