By Breton, André; Matthews, J. H.; Breton, André
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Additional resources for André Breton : sketch for an early portrait
Breton's term "official criticism" is obviously questionable. Yet it is enlightening for that very reason. The intention, apparently, was to allude to commentators to whom most of us are accustomed to refer, when seeking reliable guidance. Although there are no officially appointed critics, there are individuals whose opinions command too much respect for objections to be raised, for challenges to be made among the public at large. By calling such people official critics, Breton wanted to remind his audience that their status is guaranteed by general approval, born of willingness to accept their judgement as sound and informed.
Alluding to Breton's relations with Picabia, Sanouillet writes, "The culminating point of that friendship sealed between Breton and Picabia over the grave of Dada was reached in the month of November 1922, the date on which José Delmau decided to organize at his Barcelona gallery an exhibition of recent canvases by Picabia" (p. 371), an exhibit for which, incidentally, Breton had drafted in October (Delmau's decision was reached earlier than Sanouillet would have us believe) a catalog preface, the text of which appeared within two years as "Francis Picabia" in Les Pas perdus.
André Breton addressed Picabia on occasion in terms which other circumstances would have led us to interpret without hesitation as proof of amorous attachment. As we shall have occasion to notice more than once, Breton had a natural inclination to let affection on the personal plane commingle with admiration on the intellectual level. All the evidence accessible to us invites us to go further than simply noting that he seemed to have been disposed to strong admiration for individuals whom he liked.