Giménez Caballero met him again the next day in the company of José Antonio Primo de Rivera, the leader of the fascist Falange movement, to whom Picasso complained about the failure of the Republican government to come up with the funds to insure a retrospective of his work in Spain. He had tried and failed to entice Lorca into his net, and in August 1934 he would try winning Picasso over to the fascist side.” In 1934, while he was in San Sebastián on the last visit he would ever make to the country, Picasso encountered the writer and editor Ernesto Giménez Caballero, who was, according to Richardson, “formerly one of the most progressive intellectuals in Spain” but had “experienced a radical epiphany and reinvented himself as a fascist ideologue…. In Spain, the right wing also had its eye on Picasso. In a March 16 letter, Breton confessed to feeling ‘jealous of the evenings spent with Paul Éluard.’”
Richardson writes that in 1936, when Breton began to have differences with the poet Paul Éluard, “competition for Picasso’s friendship probably contributed to their feud. Michel Leiris, one of the anti-Breton faction, wrote that Picasso’s work was too down to earth, “never emanating from the foggy world of dreams, nor does it lend itself to symbolic exploitation-in other words, it is in no sense surrealist.” In 1930 Bataille dedicated an entire issue of his magazine Documents to Picasso.
In 1929, when Breton excommunicated dissidents, including Georges Bataille, from the Surrealist movement, the two sides fought for the soul of Picasso. In “Painting and Surrealism” (1925), an essay illustrated solely with works by Picasso, he wrote, “If surrealism must chart itself a moral line of conduct, it needs only find where Picasso has gone and where he will pass again.” Among them, John Richardson writes in A Life of Picasso: The Minotaur Years, 1933–1943, was André Breton, whose “blandishments, in the form of public statements, private letters, and published essays, began even before the official founding of surrealism” in 1924.
In the 1920s and 1930s several groups and individuals sought Pablo Picasso’s loyalty.
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