 These young artists and poets were marking their careers on the crest of a new wave that swept intellectual circles in Europe and Spain. Politics appeared to pursue culture and art. As these young poets and artists matured and identified with the Generation of 1927, they became more daring and willing to experiment with new techniques and media to produce a much wider vivid impact. Federico García Lorca’s (1898–1936) friendly collaboration with painter Salvador Dalí (1904–1989), film director Luis Buñuel (1900–1983) and composer Manuel de Falla (1876–1946) demonstrated an appreciation for combining new techniques to extract mysterious essences from human experience. Their works offered vivid images of the new abstract aesthetic mysticism and surrealism in the 1920s. These new art forms and novel methods of perceiving hidden essences were immediately associated with the aesthetic expressions that rejected old moralities and traditional values, developed a greater interest in politics and represented an ever-increasing creative sensitivity. Indeed, this new found freedom in aesthetic expression was extended to the realm of politics. In April 1929, after Ortega resigned his chair of metaphysics at the Central University of Madrid in protest of Primo de Rivera’s repressive educational policies, several of these young intellectuals representing diverse political positions turned to him for political counsel and implored him to guide their reform movement on behalf of a “modern” and “intellectual” orientation toward “freedom” in Spain. Ortega declined the leadership role proposed by García Lorca and the group of young intellectuals and offered, instead, his “sympathy, support, and comradeship”.