André Breton and Philippe Soupault publish Les Champs magnétiques, widely cited as a foundational Surrealist text and an early landmark of automatic writing experimentation that influenced the later Paris Surrealist group.
The Bureau of Surrealist Research ("Centrale Surréaliste") opens at 15 rue de Grenelle, serving as a public-facing hub for Surrealist inquiry—meetings, discussions, and collecting material tied to unconscious mental activity.
André Breton publishes Manifeste du surréalisme, defining Surrealism and consolidating a Paris-centered group around new literary methods (dream, automatism, and anti-rationalist experiment) distinct from Dada.
Surrealists circulate the pamphlet Un Cadavre in response to the national funeral of Anatole France, using provocation and polemic to reject establishment literary authority and draw attention to Surrealism’s oppositional stance.
The journal La Révolution surréaliste launches, providing the Paris Surrealist group with a central platform for manifestos, inquiries, texts, and images—helping standardize Surrealist discourse and public controversy.
Surrealists develop the collaborative method cadavre exquis (“exquisite corpse”) around 1925, using sequential, partially hidden contributions to generate chance-based phrases and images—an influential literary-artistic experiment in collective automatism.
Louis Aragon publishes Le Paysan de Paris, a Surrealist book built from Parisian sites and perceptions, extending the movement’s experiments into a major literary form (mythicized modern city, associative narration, and the “marvelous” in everyday space).
André Breton publishes Nadja, a hybrid Surrealist narrative incorporating photographs and lived encounters in Paris; it becomes a signature Surrealist literary experiment in autobiography, urban wandering, and the uncanny.
Breton’s Second Manifesto of Surrealism appears in the twelfth (final) issue of La Révolution surréaliste, marking a decisive turn toward internal discipline, sharper polemic, and intensified political positioning in the Paris group.
Following La Révolution surréaliste, the Surrealist group begins Le Surréalisme au service de la révolution, a new Paris periodical aligning Surrealist writing and imagery more explicitly with revolutionary politics and collective action.
Luis Buñuel and Salvador Dalí’s Surrealist film L’Âge d’Or premieres at Studio 28 in Paris; its anti-bourgeois and anti-clerical attack becomes a flashpoint, connecting Surrealist literary culture to cinema and public scandal.
The lavish review Minotaure begins publication in Paris under Albert Skira (with strong Surrealist involvement), becoming a major venue where Surrealist writing, criticism, and visual culture circulate beyond the movement’s earlier internal journals.
Surrealist literary movement in Paris: journals, authors, and experiments (1924-1936)
