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André Robert Breton was the only son born to a family of modest means in Tinchebray (Orne) in Normandy, France. His father, Louis-Justin Breton, was a policeman and atheistic, and his mother, Marguerite-Marie-Eugénie Le Gouguès, was a former seamstress. Breton attended medical school, where he developed a particular interest in mental illness. His education was interrupted when he was conscripted for World War I. He was a French writer and poet. He is known best as the co-founder, leader, principal theorist and chief apologist of surrealism. His writings include the first Surrealist Manifesto of 1924, in which he defined surrealism as "pure psychic automatism .

He was born on 18 February 1896 at Tinchebray, Tinchebray-Bocage, France and Died on 28 September 1966, Paris, France

He is known best as the co-founder, leader, principal theorist and chief apologist of surrealism.[1] His writings include the first Surrealist Manifesto (Manifeste du surréalisme) of 1924, in which he defined surrealism as "pure psychic automatism".

Along with his role as leader of the surrealist movement he is the author of celebrated books such as Nadja and L'Amour fou. Those activities combined with his critical and theoretical work for writing and the plastic arts, made André Breton a major figure in twentieth-century French art and literature.

During World War I, he worked in a neurological ward in Nantes, where he met the devotee of Alfred Jarry, Jacques Vaché, whose anti-social attitude and disdain for established artistic tradition influenced Breton considerably.Vaché committed suicide when aged 24, and his war-time letters to Breton and others were published in a volume entitled Lettres de guerre (1919), for which Breton wrote four introductory essays.

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.

World War II and exile

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. He emigrated to New York City and lived there for a few years. In 1942, Breton organized a groundbreaking surrealist exhibition at Yale University.

In 1942, 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.

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.

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.

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.

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.

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.

Nine previously unpublished manuscripts, including the Manifeste du surréalisme, were auctioned by Sotheby's in May 2008.
- André Breton

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