Un Chien Andalou officially welcomed into the ranks of the Surrealists by the movement's leader André Breton, an event recalled by film historian Georges Sadoul: "Breton had convoked the creators to our usual venue [the Café Radio] ... one summer's evening. Dalí had the large eyes, grace, and timidity of a gazelle. To us, Buñuel, big and athletic, his black eyes protruding a little, seemed exactly like he always is in "Un Chien Andalou", meticulously honing the razor that will slice the open eye in two." Among the most enthusiastic viewers of the film were the wealthy couple Viscount Charles and Marie-Laure de
Veritables Preludes flasques (pour un chien) dominate Western music during the nineteen-twenties." The "Véritables Préludes flasques (pour un chien)" represents Satie's determination to reconcile his belated education at the Schola Cantorum in Paris under Vincent d'Indy (1905-1912) with his own natural sense of wit and fantasy. It was in fact his second attempt at creating a composition on a canine theme, an idea that had long obsessed him. In July 1912 Satie composed his piano suite "Préludes flasques (pour un chien)", but after it was rejected for publication by the Durand firm he informed his protégé Alexis Roland-Manuel that he was going to rewrite it from