Surrealism Story In Self-portrait

In 1929 the satellite group around the journal Le Grand Jeu, including Roger Gilbert-Lecomte, Maurice Henry and the Czech painter Josef Sima, was ostracized. Also in February, Breton asked Surrealists to assess their "degree of moral competence", and theoretical refinements included in the second manifeste du surréalisme excluded anyone reluctant to commit to collective action, a list which included Leiris, Georges Limbour, Max Morise, Baron, Queneau, Prévert, Desnos, Masson and Boiffard. Excluded members launched a counterattack, sharply criticizing Breton in the pamphlet Un Cadavre, which featured a picture of Breton wearing a crown of thorns. The pamphlet drew upon an earlier act of subversion by likening Breton to Anatole France, whose unquestioned value Breton had challenged in 1924.
In hindsight, the disunion of 1929-30 and the effects of Un Cadavre had very little negative impact upon Surrealism as Breton saw it, since core figures such as Aragon, Crevel, Dalí and Buñuel remained true the idea of group action, at least for the time being. The success (or at least the controversy) of Dalí and Buñuel's film L'Age d'Or in December 1930 had a regenerative effect, drawing a number of new recruits, and encouraging countless new artistic works the following year and throughout the 1930s.
Disgruntled surrealists moved to the periodical Documents, edited by Georges Bataille, whose anti-idealist materialism formed a hybrid Surrealism intending to expose the base instincts of humans. To the dismay of many, Documents fizzled out in 1931, just as Surrealism seemed to be gathering more steam.
There were a number of reconciliations after this period of disunion, such as between Breton and Bataille, while Aragon left the group after committing himself to the communist party in 1932. More members were ousted over the years for a variety of infractions, both political and personal, while others left of to pursue creativity of their own style.