Remove the philosophical underpinning of surrealism, and what you are left with is no longer surrealism but kitsch. The turning point for this development was arguably the Ballet Russes's 1926 production of Romeo And Juliet, for which Max Ernst and Joan Miru had contributed set designs.
Appalled that Ernst and Miru had compromised their artistic integrity for such a work of apparent frippery, two of surrealism's chief intellectuals, Andre Breton and Louis Aragon, noisily disrupted the production and distributed leaflets stating that it was 'inadmissible that ideas should be at the behest of money'. A fuming Breton must have rued the day he once called Miru 'the most surrealist of us all'. more