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Surrealism, a major movement of late modernism in the 1920s and 1930s, showed an enigmatic parallel with and interest in psychoanalysis as the poets, painters and novelists tried to open a new depth of personal self-understanding. They were 鈥渓oving Freud madly鈥�: they studied psychoanalysis, Breton and Dal铆 visited Freud, and they integrated the basic ideas of psychoanalysis into their literary and theoretical discourses. Breton put the dream and automatism at the centre and developed a kind of hysteria-criticism, while Dal铆 introduced a more radical paranoia-criticism in his theories and creative work. Dal铆鈥檚 work showed important parallel ideas with the psychoanalysis of the early Jacques Lacan. Dal铆 in 1938 visited Freud in London and took with him his freshly finished picture 鈥淭he Metamorphosis of Narcissus鈥�. This major painting is an excellent summary of his paranoia-criticism. The structuring of the picture, and the act of imagining the world through a paranoid-critical method, creates a surrealistic-hallucinatory psycho-analysis, and speaks of Dali鈥檚 narcissistic lacks and excesses as well as our own.