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Abstract
Although much has been written about André Breton’s concept of the Surrealist image, the present article examines a number of aspects that have so far escaped notice. In particular, it examines several antecedents of Pierre Reverdy’s theory of the image and compares the latter to that developed in the Manifeste du surréalisme. A close reading of the manifesto reveals the presence of a previously unknown model used by Breton in formulating his theory.