In the 1930s, Surrealism split into two groups: the Automatists and the Veristic Surrealists. Although they were similar, they had many differences. It was said that Automatism was the only type of
             surrealism accepted by critical reviews after the was (Aronson 125). The basis of each group was different, but their standpoints remained the same - art through the subconscious.
             The artists in the automatists group interpreted surrealism as referring to a suppression of the consciousness in favor of the subconsciousness (Alder 209). This group was more focused on feeling than analysis. They understood automatism to be the automatic way in which the subconscious reaches the conscience (Alder 209). In plain words, they didn't focus on the real but feelings. Their paintings were far more abstract than the veristic. The idea of free expression of feelings had always dominated the history of art. The automists on the other hand wanted nothing to do with it. They argued that images should not be burdened with "meaning." Focusing on the subconscious, the automatists, thought abstractionism was the only way to bring life to images. Following the Dada tradition, these artists also linked scandal, insult, and irreverence toward the upper class with freedom. They continued to believe that lack of form was a way to rebel against them.
             Some famous painters in the Automatists group were Yves Tanguy, Roberto Matta, and Joan Miro. Joan Miro was a well-renowned Automatist. He joined the surrealists in 1928. Miro treated his empty canvas as a production. He would often work in layers, sometimes starting with washes and applying paint with sponges. Some of his most famous works would be "The Ploughed Earth," "The Harlequin Carnival," and "Dog Barking at the Moon."
             The second group of surrealists was the Veristic surrealists. The veristic surrealists were quite different than the automatists. As Sister Mary Beckett had said, "They wa...