If so, she might have foreseen his influence on the Chicago Surrealist Group, the Pop Art of Andy Warhol, works by Mexican muralist Marcos Raya, explorations of sexuality by Sarah Lucas and the cinema of David Lynch.
The celebrity culture that has developed around contemporary art owes much to Dalí’s humour, visual wit and cult of personality.
According to Breton, Dalí had reduced Surrealism to popular entertainment.
It is undeniable that Dalí courted a mass market for his works.
As the familiar face of the longest-running art movement of the 20th century – Surrealism – Dalí was well aware of the power of his public persona.
From his finely groomed moustaches to his public appearances with his pet ocelot, Babou, he cultivated an image that was instantly recognised in the worlds of art, entertainment and advertising.
By the time of his death on January 23 1989, Dalí had fashioned himself as a multimedia artist, writer and international celebrity.
The Surrealist movement began as a collaborative affair.
First exhibited at Dalí’s solo exhibition at the Goemans Gallery in Paris in 1929, for 36 years it was a menacing presence in the consulting rooms of a Zürich psychiatrist, until its sale by Christie’s in 1982.
Making one’s dreams public can, however, be a dangerous thing.