|Salvador Dalí, Marquis de Púbol
Photo by Carl Van Vechten taken
November 29, 1939.
||Salvador Domingo Felipe Jacinto Dalí i Domènech
||May 11, 1904(1904-05-11)
Figueres, Catalonia, Spain
||January 23, 1989 (aged 84)
Figueres, Catalonia, Spain
||Painting, Drawing, Photography, Sculpture, Writing
||San Fernando School of Fine Arts, Madrid
||Cubism, Dada, Surrealism
||The Persistence of Memory (1931)
Face of Mae West Which May Be Used as an Apartment, (1935)
Soft Construction with Boiled Beans (Premonition of Civil War) (1936)
Swans Reflecting Elephants (1937)
Ballerina in a Death's Head (1939)
The Temptation of St. Anthony (1946)
Galatea of the Spheres (1952)
Young Virgin Auto-Sodomized by the Horns of Her Own Chastity (1954)
...just because I don't know the meaning of my art, does not mean it has no meaning...
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989) was a Spanish Catalan surrealist painter born in Figueres.
Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory,
was completed in 1931. Dalí's expansive artistic repertoire includes
film, sculpture, and photography, in collaboration with a range of
artists in a variety of mediums.
Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to a self-styled "Arab lineage," claiming that his ancestors were descended from the Moors.
Dalí was highly imaginative, and also had an affinity for partaking
in unusual and grandiose behavior, in order to draw attention to
himself. This sometimes irked those who loved his art as much as it
annoyed his critics, since his eccentric manner sometimes drew more
public attention than his artwork.
Salvador Domingo Felipe Jacinto Dalí i Domènech, was born on May 11, 1904, at 8:45 a.m. GMT in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.
Dalí's older brother, also named Salvador (b. October 12, 1901), had
died of gastroenteritis nine months earlier, on August 1, 1903. His
father, Salvador Dalí i Cusí, was a middle-class lawyer and notary
whose strict disciplinary approach was tempered by his wife, Felipa
Domenech Ferrés, who encouraged her son's artistic endeavors. When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,a concept which he came to believe. Of his brother, Dalí said, "…[we] resembled each other like two drops of water, but we had different reflections." He "was probably a first version of myself but conceived too much in the absolute."
Dalí also had a sister, Ana María, who was three years younger than he. In 1949 she published a book about her brother, Dalí As Seen By His Sister. His childhood friends included future FC Barcelona footballers Sagibarbá and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.
Dalí attended drawing school. In 1916, Dalí also discovered modern painting on a summer vacation to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.
The next year, Dalí's father organized an exhibition of his charcoal
drawings in their family home. He had his first public exhibition at
the Municipal Theater in Figueres in 1919.
In February 1921, Dalí's mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death "was
the greatest blow I had experienced in my life. I worshipped her… I
could not resign myself to the loss of a being on whom I counted to
make invisible the unavoidable blemishes of my soul."
After her death, Dalí's father married his deceased wife's sister. Dalí
did not resent this marriage, because he had a great love and respect
for his aunt.
Madrid and Paris
In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m (5 ft. 7¾ in.) tall,  Dalí already drew attention as an eccentric and dandy. He wore long hair and sideburns, coat, stockings, and knee breeches in the style of English aesthetes of the late 19th century. However, it was his paintings, in which he experimented with Cubism,
that earned him the most attention from his fellow students. At the
time of these early works, Dali probably did not completely understand
the Cubist movement. His only information on Cubist art came from
magazine articles and a catalog given to him by Pichot, since there
were no Cubist artists in Madrid at the time.
In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem "Les bruixes de Llers" ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent.
Dalí also experimented with Dada, which influenced his work throughout his life. At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and poet Federico García Lorca. The friendship with Lorca had a strong element of mutual passion, but Dalí fearfully rejected the erotic advances of the poet.
Dalí was expelled from the Academia in 1926, shortly before his
final exams, when he stated that no one on the faculty was competent
enough to examine him. His mastery of painting skills was evidenced by his flawlessly realistic Basket of Bread, painted in 1926. That same year, he made his first visit to Paris, where he met with Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró. As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró.
Some trends in Dalí's work that would continue throughout his life
were already evident in the 1920s. Dalí devoured influences from many
styles of art, ranging from the most academically classic to the most
cutting-edge avant garde His classical influences included Raphael, Bronzino, Francisco de Zurbaran, Vermeer, and Velázquez. He
used both classical and modernist techniques, sometimes in separate
works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.
Dalí grew a flamboyant moustache,
influenced by seventeenth-century Spanish master painter Diego
Velázquez. The moustache became an iconic trademark of his appearance
for the rest of his life.
1929 through World War II
In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film Un chien andalou (An Andalusian Dog).
His main contribution was to help Buñuel write the script for the film.
Dalí later claimed to have also played a significant role in the
filming of the project, but this is not substantiated by contemporary
accounts. Also, in August 1929, Dalí met his muse, inspiration, and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant eleven years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called the Paranoiac-critical method of accessing the subconscious for greater artistic creativity.
Meanwhile, Dalí's relationship with his father was close to rupture.
Don Salvador Dalí y Cusi strongly disapproved of his son's romance with
Gala, and saw his connection to the Surrealists as a bad influence on
his morals. The last straw was when Don Salvador read in a Barcelona
newspaper that his son had recently exhibited in Paris a drawing of the
"Sacred Heart of Jesus Christ", with a provocative inscription,
"Sometimes, I spit for fun on my mother's portrait."
Outraged, Don Salvador demanded that his son recant publicly. Dalí
refused, perhaps out of fear of expulsion from the Surrealist group,
and was violently thrown out of his paternal home on December 28, 1929.
His father told him that he would disinherit him, and that he should
never set foot in Cadaquès again. Dalí later claimed that, in response,
he handed his father a condom containing his own sperm, saying, "Take
that. I owe you nothing anymore!" The following summer, Dalí and Gala
would rent a small fisherman's cabin in a nearby bay at Port Lligat. He
bought the place, and over the years enlarged it, gradually building
his much beloved villa by the sea.
In 1931, Dalí painted one of his most famous works, The Persistence of Memory. which introduced a surrealistic image of soft, melting pocket watches.
The general interpretation of the work is that the soft watches are a
rejection of the assumption that time is rigid or deterministic. This
idea is supported by other images in the work, such as the wide
expanding landscape, and the other limp watches, shown being devoured
Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They later remarried in a Catholic ceremony in 1958.
Dalí was introduced to America by art dealer Julian Levy in 1934. The exhibition in New York of Dalí's works, including Persistence of Memory, created an immediate sensation. Social Register
listees feted him at a specially organized "Dalí Ball." He showed up
wearing a glass case on his chest, which contained a brassiere. In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as the Lindbergh baby and his kidnapper.
The resulting uproar in the press was so great that Dalí apologized.
When he returned to Paris, the Surrealists confronted him about his
apology for a surrealist act..
While the majority of the Surrealist artists had become increasingly
associated with leftist politics, Dalí maintained an ambiguous position
on the subject of the proper relationship between politics and art.
Leading surrealist André Breton
accused Dalí of defending the "new" and "irrational" in the "the Hitler
phenomenon," but Dalí quickly rejected this claim, saying, "I am
Hitlerian neither in fact nor intention."Dalí
insisted that surrealism could exist in an apolitical context and
refused to explicitly denounce fascism. Among other factors, this had
landed him in trouble with his colleagues. Later in 1934, Dalí was
subjected to a "trial", in which he was formally expelled from the
Surrealist group. To this, Dalí retorted, "I myself am surrealism."
In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, entitled Fantomes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet.
He had arrived carrying a billiard cue and leading a pair of Russian
wolfhounds, and had to have the helmet unscrewed as he gasped for
breath. He commented that "I just wanted to show that I was 'plunging
deeply' into the human mind."
At this stage, Dalí's main patron was the very wealthy Edward James.
He had helped Dalí emerge into the art world by purchasing many works
and by supporting him financially for two years. They became good
friends, and James is featured in Dalí's painting Swans Reflecting Elephants. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.
In 1939, Breton coined the derogatory nickname "Avida Dollars", an anagram for Salvador Dalí which may be translated as "eager for dollars".
This was a derisive reference to the increasing commercialization of
Dalí's work, and the perception that Dali sought self-aggrandizement
through fame and fortune. Some surrealists henceforth spoke of Dalí in
the past tense, as if he were dead. The Surrealist movement and various
members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death and beyond.
In 1940, as World War II
started in Europe, Dalí and Gala moved to the United States, where they
lived for eight years. After the move, Dalí returned to the practice of
Catholicism. "During this period, Dalí never stopped writing," wrote
Robert and Nicolas Descharnes.
In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published his autobiography, The Secret Life of Salvador Dalí.
He wrote catalogs for his exhibitions, such as that at the Knoedler
Gallery in New York in 1943. Therein he expounded, "Surrealism will at
least have served to give experimental proof that total sterility and
attempts at automatizations have gone too far and have led to a
totalitarian system. ... Today's laziness and the total lack of
technique have reached their paroxysm in the psychological
signification of the current use of the college." He also wrote a
novel, published in 1944, about a fashion salon for automobiles. This
resulted in a drawing by Edwin Cox in The Miami Herald, depicting Dalí dressing an automobile in an evening gown.
An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947.
In 2005, a sculpture of Christ on the Cross was discovered in the
friar's estate. It had been claimed that Dalí gave this work to his
exorcist out of gratitude, and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.
Later years in Catalonia
Starting in 1949, Dalí spent his remaining years back in his beloved
Catalonia. The fact that he chose to live in Spain while it was ruled
by Franco drew criticism from progressives and many other artists.
As such, it is probable that at least some of the common dismissal of
Dalí's later works had more to do with politics than the actual merits
of the works themselves. In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's Sistine Madonna in the International Surrealism Exhibition in New York the following year.
Late in his career, Dalí did not confine himself to painting, but
experimented with many unusual or novel media and processes: he made bulletist works and was among the first artists to employ holography in an artistic manner. Several of his works incorporate optical illusions. In his later years, young artists such as Andy Warhol proclaimed Dalí an important influence on pop art.
Dalí also had a keen interest in natural science and mathematics. This
is manifested in several of his paintings, notably in the 1950s, when
he painted his subjects as composed of rhinoceros horns, signifying
divine geometry (the rhinoceros horn grows according to a logarithmic
spiral) and chastity (Dalí linked the rhinoceros to the Virgin Mary). Dalí was also fascinated by DNA and the hypercube (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus).
Dalí's post-World War II period bore the hallmarks of technical
virtuosity and an interest in optical illusions, science, and religion.
Increasingly Catholic, and inspired by the shock of Hiroshima, he
labeled this period "Nuclear Mysticism."
In paintings such as "The Madonna of Port-Lligat" (first version)
(1949) and "Corpus Hypercubus" (1954), Dalí sought to synthesize
Christian iconography with images of material disintegration inspired by nuclear physics.
"Nuclear Mysticism" included such notable pieces as "La Gare de
Perpignan" (1965) and "Hallucinogenic Toreador" (1968–70). In 1960,
Dalí began work on the Dalí Theatre and Museum in his home town of Figueres;
it was his largest single project and the main focus of his energy
through 1974. He continued to make additions through the mid-1980s.
In 1968, Dalí filmed a television advertisement for Lanvin chocolates, and in 1969, he designed the Chupa Chups logo. Also in 1969, he was responsible for creating the advertising aspect of the 1969 Eurovision Song Contest and created a large metal sculpture that stood on the stage at the Teatro Real in Madrid.
In the television programme Dirty Dalì: A Private View broadcast on Channel 4 on June 3, 2007, art critic Brian Sewell
described his acquaintance with Dalí in the late 1960s, which included
lying down in the fetal position without trousers in the armpit of a
figure of Christ and masturbating for Dalí, who pretended to take
photos while fumbling in his own trousers.
In 1980, Dalí's health took a catastrophic turn. His near-senile
wife, Gala, was dosing him with a dangerous cocktail of unprescribed
medicine that damaged his nervous system, thus causing an untimely end
to his artistic ability. At 76 years old, the "ever-healthy" Dalí was a
complete wreck, his right hand trembling terribly, Parkinsonlike.
In 1982, King Juan Carlos of Spain bestowed on Dalí the title Marquis of Púbol, for which Dalí later paid him by giving him a drawing (Head of Europa, which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.
Gala died on June 10, 1982. After Gala's death, Dalí lost much of
his will to live. He deliberately dehydrated himself—possibly as a
suicide attempt, possibly in an attempt to put himself into a state of
suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom under unclear circumstances—possibly a suicide attempt by Dalí, possibly simple negligence by his staff.
In any case, Dalí was rescued and returned to Figueres, where a group
of his friends, patrons, and fellow artists saw to it that he was
comfortable living in his Theater-Museum in his final years.
There have been allegations that his guardians forced Dalí to sign
blank canvases that would later (even after his death) be used and sold
as originals. As a result, art dealers tend to be wary of late works attributed to Dalí.
In November 1988, Dalí entered the hospital with heart failure, and on December 5, 1988 was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.
On January 23, 1989, while his favorite record of Tristan and Isolde played, he died of heart failure at Figueres at the age of 84, and, coming full circle, is buried in the crypt of his Teatro Museo
in Figueres, across the street from the church of Sant Pere, where he
had his funeral, first communion, and baptism—three blocks from the
house where he was born.
The Gala-Salvador Dalí Foundation currently serves as his official Estate. The U.S. copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.
In 2002, the Society made the news when they asked Google to remove a
customised version of its logo put up to commemorate Dalí, alleging
that portions of specific artworks under their protection had been used
in the logos and were used without permission. Google complied with the
request, but denied that there was any violation of copyright.
Dalí employed extensive symbolism in his work. For instance, the hallmark "soft watches" that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot day in August.
The elephant is also a recurring image in Dalí's works. It first appeared in his 1944 work Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening. The elephants, inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk, are portrayed "with long, multijointed, almost invisible legs of desire"
along with obelisks on their backs. Coupled with the image of their
brittle legs, these encumbrances, noted for their phallic overtones,
create a sense of phantom reality. "The elephant is a distortion in
space," one analysis explains, "its spindly legs contrasting the idea
of weightlessness with structure."
"I am painting pictures which make me die for joy, I am creating with
an absolute naturalness, without the slightest aesthetic concern, I am
making things that inspire me with a profound emotion and I am trying
to paint them honestly." —Salvador Dalí, in Dawn Ades, Dalí and Surrealism.
The egg is another common Dalíesque image. He connects the egg to
the prenatal and intrauterine, thus using it to symbolize hope and love; it appears in The Great Masturbator and The Metamorphosis of Narcissus.
Various animals appear throughout his work as well: ants point to
death, decay, and immense sexual desire; the snail is connected to the
human head (he saw a snail on a bicycle outside Freud's house when he
first met Sigmund Freud); and locusts are a symbol of waste and fear.
Endeavors outside painting
The Dali Atomicus, photo by Philippe Halsman
(1948), shown before its supporting wires were removed.
Dalí was a versatile artist, not limiting himself only to painting
in his artistic endeavors. Some of his more popular artistic works are
sculptures and other objects, and he is also noted for his
contributions to theatre, fashion, and photography, among other areas.
Two of the most popular objects of the surrealist movement were Lobster Telephone and Mae West Lips Sofa, completed by Dalí in 1936 and 1937, respectively. Surrealist artist and patron Edward James commissioned both of these pieces from Dalí; James inherited a large English estate in West Dean, West Sussex when he was five and was one of the foremost supporters of the surrealists in the 1930s. "Lobsters and telephones had strong sexual connotations for [Dalí]," according to the display caption for the Lobster Telephone at the Tate Gallery, "and he drew a close analogy between food and sex."
The telephone was functional, and James purchased four of them from
Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia.
The wood and satin Mae West Lips Sofa was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating. West was previously the subject of Dalí's 1935 painting The Face of Mae West. Mae West Lips Sofa currently resides at the Brighton and Hove Museum in England.
During the years between 1941 and 1970, Dalí was also responsible
for creating a striking ensemble of jewels, 39 in total. The jewels
created are intricate, and some contain actual moving parts. The most
famous jewel created by Dalí, "The Royal Heart," is crafted using gold
and is encrusted with 46 rubies, 42 diamonds, and four emeralds and is
created in such a way that the center "beats" much like a real heart.
Dalí himself commented that "Without an audience, without the presence
of spectators, these jewels would not fulfill the function for which
they came into being. The viewer, then, is the ultimate artist." (Dalí,
1959.) The "Dalí — Joies" ("The Jewels of Dalí") collection can be seen
at the Dalí Theater Museum in Figueres, Catalonia, Spain, where it is
on permanent exhibition.
In theatre, Dalí is remembered for constructing the scenery for García Lorca's 1927 romantic play Mariana Pineda. For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto. Bacchanale was followed by set designs for Labyrinth in 1941 and The Three-Cornered Hat in 1949.
Although most known for his paintings, Dalí became intensely
interested in film when he was young, going to the theatre to see
different shows almost every Sunday. He was part of the era where
silent films were being viewed and drawing on the medium of film became
popular. He believed there were two dimensions to the theories of film
and cinema: "things themselves"—the facts that are presented in the
world of the camera, and "photographic imagination"—the way the camera
shows the picture and how creative or imaginative it looks.
Dalí was active in front of and behind the scenes in the film world. He
created wonderful pieces of artwork such as Destino, on which he
collaborated with Walt Disney. He is also credited as cocreator of Luis Buñuel's surrealist film Un Chien Andalou,
a 17-minute French art film cowritten with Luis Buñuel that is widely
remembered for its graphic opening scene simulating the slashing of a
human eyeball with a razor. This film is what Dalí is known for in the independent film world. Un Chien Andalou
was Dalí's way of creating his dreamlike qualities in the real world.
Images would change and scenes would switch, leading the viewer in a
completely different direction from the one they were previously
viewing. The second film he produced with Buñuel was entitled L’age d’or, and it was performed at Studio 28 in Paris in 1930. L’age d’or
was "banned for years after fascist and anti-Semitic groups staged a
stink bomb and ink-throwing riot in the Paris theater where it was
Although negative aspects of society were being thrown into the life of
Dalí and obviously affecting the success of his artwork, it did not
hold him back from expressing his own ideas and beliefs in his art.
Both of these films, Un Chien Andalou and L’age d’or, have had a
tremendous impact on the independent surrealist film movement. "If Un
Chien Andalou stands as the supreme record of Surrealism's adventures
into the realm of the unconscious, then L'Âge d'or is perhaps the most
trenchant and implacable expression of its revolutionary intent."
Dalí also worked with other famous filmmakers such as Alfred
Hitchcock. The most well-known of his film projects is probably the
dream sequence in Alfred Hitchcock's Spellbound,
which heavily delves into themes of psychoanalysis. Hitchcock needed a
dreamlike quality to his movie, which dealt with the idea that a
repressed experience can directly trigger a neurosis, and he knew that
Dalí's work would help create the atmosphere he wanted in his film. He
also worked on a documentary called Chaos and Creation, which has a lot of artistic references thrown into it to help one see what Dalí's vision of art really is. He also worked on Disney cartoon production Destino. Completed in 2003 by Baker Bloodworth and Roy Disney,
it contains dreamlike images of strange figures flying and walking
about. It is based on Mexican songwriter Armando Dominguez' song
entitled "Destino." When Disney hired Dalí to help produce Destino in
1946, they were not prepared for the work they had ahead of themselves.
For eight months, they continuously animated until their efforts had to
come to a stop when they realized they were in financial trouble. They
had no more money to finish the production of the animated movie;
however, it was eventually finished and shown in various film
festivals. The movie consists of Dalí's artwork interacting with
Disney's classic princesslike character animation. Dalí completed only
one other film in his lifetime, Impressions of Upper Mongolia
(1975), in which he narrated a story about an expedition in search of
giant hallucinogenic mushrooms. The imagery was based on microscopic
uric acid stains on the brass band of a ballpoint pen on which Dalí had
been urinating for several weeks.
Dalí built a repertoire in the fashion and photography industries as
well. In fashion, his cooperation with Italian fashion designer Elsa Schiaparelli
is well-known, where Dalí was hired by Schiaparelli to produce a white
dress with a lobster print. Other designs Dalí made for her include a
shoe-shaped hat and a pink belt with lips for a buckle. He was also
involved in creating textile designs and perfume bottles. With Christian Dior in 1950, Dalí created a special "costume for the year 2045." Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman.
With Man Ray and Brassaï, Dalí photographed nature; with the others,
he explored a range of obscure topics, including (with Halsman) the Dalí Atomica series (1948)—inspired by his painting Leda Atomica—which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air."
References to Dalí in the context of science are made in terms of
his fascination with the paradigm shift that accompanied the birth of quantum mechanics in the twentieth century. Inspired by Werner Heisenberg's Uncertainty Principle,
in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist
period, I wanted to create the iconography of the interior world and
the world of the marvelous, of my father Freud. Today, the exterior
world and that of physics has transcended the one of psychology. My
father today is Dr. Heisenberg."
In this respect, The Disintegration of the Persistence of Memory, which appeared in 1954, in hearkening back to The Persistence of Memory, and in portraying that painting in fragmentation and disintegration summarizes Dalí's acknowledgment of the new science.
Architectural achievements include his Port Lligat house near Cadaqués as well as the Dream of Venus surrealist pavilion at the 1939 World's Fair, which contained within it a number of unusual sculptures and statues. His literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1952–63), and Oui: The Paranoid-Critical Revolution
(1927–33). The artist worked extensively in the graphic arts, producing
many etchings and lithographs. While his early work in printmaking is
equal in quality to his important paintings as he grew older, he would
sell the rights to images but not be involved in the print production
itself. In addition, a large number of unauthorized fakes were produced
in the eighties and nineties, thus further confusing the Dalí print
One of Dalí's most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965, Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo. Lear became his protégé and muse, writing about their affair in the authorized biography My Life With Dalí (1986).
Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her
successful transition from modeling to the music world, advising her on
self-presentation and helping spin mysterious stories about her origin
as she took the disco-art scene by storm. According to Lear, she and
Dalí were united in a "spiritual marriage" on a deserted mountaintop. Referred to as Dalí's "Frankenstein," some believe Lear's name is a pun on the French "L'Amant Dalí," or Lover of Dalí. Lear took the place of an earlier muse, Ultra Violet (Isabelle Collin Dufresne), who had left Dalí's side to join The Factory of Andy Warhol.
Politics and personality
Dalí in the 1960s wearing the flamboyant mustache style he popularized.
Salvador Dalí's politics played a significant role in his emergence
as an artist. He has sometimes been portrayed as a supporter of the authoritarian Franco. André Breton,
leader of the Surrealist movement, made a strong effort to dissociate
his name from Surrealists proper. The reality is probably somewhat more
complex. In any event, he was not an anti-Semite, as he was a friendly acquaintance of famed architect and designer Paul László,
who was Jewish. He also professed great admiration for Freud (whom he
met) and Einstein, both Jewish, as can be verified throughout his
writings. On Dalí's personality, George Orwell wrote in an essay that
"One ought to be able to hold in one's head simultaneously the two
facts that Dalí is a good draughtsman and a disgusting human being. The
one does not invalidate or, in a sense, affect the other."
In his youth, Dalí embraced for a time both anarchism and communism.
His writings account various anecdotes of making radical political
statements more to shock listeners than from any deep conviction, which
was in keeping with Dalí's allegiance to the Dada
movement. As he grew older his political allegiances changed,
especially as the Surrealist movement went through transformations
under the leadership of Trotskyist André Breton, who is said to have called Dalí in for questioning on his politics. In his 1970 book Dalí by Dalí, Dalí was declaring himself an anarchist and monarchist, giving rise to speculations of Anarcho-Monarchism.
With the outbreak of the Spanish Civil War, Dalí fled from fighting and refused to align himself with any group. Likewise, after World War II, George Orwell
criticized Dalí for "scuttling off like rat as soon as France is in
danger" after Dalí prospered there for years: "When the European War
approaches he has one preoccupation only: how to find a place which has
good cookery and from which he can make a quick bolt if danger comes
too near." After his return to Catalonia after World War II, Dalí became closer to the Franco
regime. Some of Dalí's statements supported the Franco regime,
congratulating Franco for his actions aimed "at clearing Spain of
Dalí, having returned to the Catholic faith and becoming increasingly
religious as time went on, may have been referring to the Communists,
Socialists, and anarchists who had killed almost 7,000 priests and nuns during the Spanish Civil War. Dalí sent telegrams to Franco, praising him for signing death warrants for prisoners. Dalí even met Franco personally
and painted a portrait of Franco's granddaughter. It is impossible to
determine whether his tributes to Franco were sincere or whimsical; he
also once sent a telegram praising the Conducător, Romanian Communist leader Nicolae Ceauşescu, for his adoption of a scepter as part of his regalia. The Romanian daily newspaper Scînteia
published it, without suspecting its mocking aspect. One of Dalí's few
possible bits of open disobedience was his continued praise of Federico García Lorca even in the years when Lorca's works were banned.
Dalí, a colorful and imposing presence in his ever-present long
cape, walking stick, haughty expression, and upturned waxed mustache,
was famous for having said that "every morning upon awakening, I
experience a supreme pleasure: that of being Salvador Dalí." The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dalí's expensive residence in New York's Plaza Hotel
and were startled when Cher sat down on an oddly shaped sexual vibrator
left in an easy chair. When signing autographs for fans, Dalí would
always keep their pens. When interviewed by Mike Wallace on his 60 Minutes
television show, Dalí kept referring to himself in the third person,
and told the startled Mr. Wallace matter-of-factly that "Dalí is
immortal and will not die." During another television appearance, on
the Tonight Show, Dalí carried with him a leather rhinoceros and refused to sit upon anything else.
Listing of selected works
Dalí produced over 1,500 paintings in his career
in addition to producing illustrations for books, lithographs, designs
for theatre sets and costumes, a great number of drawings, dozens of
sculptures, and various other projects, including an animated cartoon for Disney. He also collaborated with director Jack Bond in 1965, creating a movie titled Dali in New York.
Below is a chronological sample of important and representative work,
as well as some notes on what Dalí did in particular years.
In Carlos Lozano's biography, Sex, Surrealism, Dalí, and Me, produced with the collaboration of Clifford Thurlow,
Lozano makes it clear that Dalí never stopped being a surrealist. As
Dalí said of himself: "the only difference between me and the
surrealists is that I am a surrealist."
- 1910 Landscape Near Figueras
- 1913 Vilabertin
- 1916 Fiesta in Figueras (begun 1914)
- 1917 View of Cadaqués with Shadow of Mount Pani
- 1918 Crepuscular Old Man (begun 1917)
- 1919 Port of Cadaqués (Night) (begun 1918) and Self-portrait in the Studio
- 1920 The Artist's Father at Llane Beach and View of Portdogué (Port Aluger)
- 1921 The Garden of Llaner (Cadaqués) (begun 1920) and Self-portrait
- 1922 Cabaret Scene and Night Walking Dreams
- 1923 Self Portrait with L'Humanite and Cubist Self Portrait with La Publicitat
- 1924 Still Life (Syphon and Bottle of Rum) (for García Lorca) and Portrait of Luis Buñuel
- 1925 Large Harlequin and Small Bottle of Rum and a series of fine portraits of his sister Anna Maria, most notably Figure at a Window
- 1926 The Basket of Bread and Girl from Figueres
- 1927 Composition with Three Figures (Neo-Cubist Academy) and Honey is Sweeter than Blood (his first important surrealist work)
- 1929 Un chien andalou (An Andalusian Dog) film in collaboration with Luis Buñuel, The Lugubrious Game, The Great Masturbator, The First Days of Spring, and The Profanation of the Host
- 1930 L'Âge d'Or (The Golden Age) film in collaboration with Luis Buñuel
- 1931 The Persistence of Memory (his most famous work, featuring the "melting clocks"), The Old Age of William Tell, and William Tell and Gradiva
- 1932 The Spectre of Sex Appeal, The Birth of Liquid Desires, Anthropomorphic Bread, and Fried Eggs on the Plate without the Plate. The Invisible Man (begun 1929) completed (although not to Dalí's own satisfaction)
- 1933 Retrospective Bust of a Woman (mixed media sculpture collage) and Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder, Gala in the Window
- 1934 The Ghost of Vermeer of Delft Which Can Be Used As a Table and A Sense of Speed
- 1935 Archaeological Reminiscence of Millet's Angelus and The Face of Mae West
- 1936 Autumn Cannibalism, Lobster Telephone, Soft Construction with Boiled Beans (Premonition of Civil War) and two works titled Morphological Echo (the first of which began in 1934)
- 1937 Metamorphosis of Narcissus, Swans Reflecting Elephants, The Burning Giraffe, Sleep, The Enigma of Hitler, Mae West Lips Sofa and Cannibalism in Autumn
- 1938 The Sublime Moment and Apparition of Face and Fruit Dish on a Beach
- 1939 Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time
- 1940 The Slave Market with Disappearing Bust of Voltaire, The Face of War
- 1941 Honey is Sweeter than Blood
- 1943 The Poetry of America and Geopoliticus Child Watching the Birth of the New Man
- 1944 Galarina and Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening
- 1944–48 Hidden Faces, a novel
- 1945, Basket of Bread—Rather Death than Shame and Fountain of Milk Flowing Uselessly on Three Shoes; also this year, Dalí collaborated with Alfred Hitchcock on a dream sequence to the film Spellbound, to mutual dissatisfaction
- 1946 The Temptation of St. Anthony
- 1948 Les Elephants
- 1949 Leda Atomica and The Madonna of Port Lligat. Dalí returned to Catalonia this year
- 1951 Christ of St. John of the Cross and Exploding Raphaelesque Head
- 1952 Galatea of the Spheres
- 1954 The Disintegration of the Persistence of Memory (begun in 1952), Crucifixion (Corpus Hypercubus) and Young Virgin Auto-Sodomized by the Horns of Her Own Chastity
- 1955 The Sacrament of the Last Supper, Lonesome Echo, record album cover for Jackie Gleason
- 1956 Still Life Moving Fast, Rinoceronte vestido con puntillas
- 1957 Santiago el Grande oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton, NB, Canada
- 1958 The Rose
- 1959 The Discovery of America by Christopher Columbus
- 1960 Dalí began work on the Teatro-Museo Gala Salvador Dalí and Portrait of Juan de Pareja, the Assistant to Velázquez
- 1965 Dalí donates a gouache, ink and pencil drawing of the Crucifixion to the Rikers Island jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981
- 1965 Dali in New York
- 1967 Tuna Fishing
- 1969 Chupa Chups logo
- 1970 The Hallucinogenic Toreador, acquired in 1969 by A. Reynolds Morse & Eleanor R. Morse before it was completed
- 1972 La Toile Daligram
- 1976 Gala Contemplating the Mediterranean Sea
- 1977 Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun (stereoscopical pair of paintings)
- 1983 Dalí completes his final painting, The Swallow's Tail
- 2003 Destino, an animated cartoon originally a collaboration between Dalí and Walt Disney, is released. Production on Destino began in 1945
The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. It holds over 1,500 works from Dalí. Other particularly significant collections include the Reina Sofia Museum in Madrid and the Salvador Dalí Gallery in Pacific Palisades, California. Espace Dalí in Montmartre, Paris, France, as well as the Dalí Universe in London, England, contain a large collection of his drawings and sculptures.
The unlikeliest venue for Dalí's work was the Rikers Island jail in New York City; a sketch of the Crucifixion
he donated to the jail hung in the inmate dining room for 16 years
before it was moved to the prison lobby for safekeeping. The drawing
was stolen in March 2003 and has not been recovered.
Under the encouragement of poet Garcia Lorca,
Dalì attempted an approach to a literary career through the means of
the "pure novel." In his only literary production, Dalí describes, in
vividly visual terms, the intrigues and love affairs of a group of
dazzling, eccentric aristocrats who, with their luxurious and
extravagant lifestyle, symbolize the decadence of the 1930s.
- ^ Phelan, Joseph, The Salvador Dalí Show
- ^ a b Dalí, Salvador. (2000) Dalí: 16 Art Stickers, Courier Dover Publications. ISBN 0-486-41074-9.
- ^ Ian Gibson (1997). The Shameful Life of Salvador Dalí. W. W. Norton & Company. http://www.nytimes.com/books/first/g/gibson-dali.html. Gibson found out that "Dalí" (and its many variants) is an extremely common surname in Arab countries like Morocco, Tunisia, Algeria or Egypt. On the other hand, also according to Gibson, Dalí's mother family, the Domènech of Barcelona, had Jewish roots.
- ^ Saladyga, Stephen Francis. "The Mindset of Salvador Dalí". lamplighter (Niagara University). Vol. 1 No. 3, Summer 2006. Retrieved July 22, 2006.
- ^ Birth certificate and "Dali Biography". Dali Museum. Dali Museum. http://www.salvadordalimuseum.org/history/biography.html. Retrieved on 2008-08-24.
- ^ Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33
- ^ a b c d e f Llongueras, Lluís. (2004) Dalí, Ediciones B — Mexico. ISBN 84-666-1343-9.
- ^ a b Rojas, Carlos. Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait, Penn State Press (1993). ISBN 0-271-00842-3.
- ^ Salvador Dalí. SINA.com. Retrieved on July 31, 2006.
- ^ Salvador Dalí biography on astrodatabank.com. Accessed September 30, 2006.
- ^ a b Dalí, Secret Life, p.2
- ^ "Dalí Biography 1904–1989 — Part Two". http://www.artelino.com/articles/dali.asp. Retrieved on 2006-09-30.
- ^ Dalí, Secret Life, pp.152–153
- ^ As listed in his prison record of 1924, aged 20. However, his hairdresser and biographer, Luis Llongueras, states Dalí was 1.74 m (5 ft 8
+1⁄2 in) tall.
- ^ For more in-depth information about the Lorca-Dalí connection see Lorca-Dalí: el amor que no pudo ser and The Shameful Life of Salvador Dalí, both by Ian Gibson.
- ^ a b Bosquet, Alain, Conversations with Dalí,
1969. p. 19-20. (PDF format) (of Garcia Lorca) 'S.D.:He was homosexual,
as everyone knows, and madly in love with me. He tried to screw me
twice .... I was extremely annoyed, because I wasn’t homosexual, and I
wasn’t interested in giving in. Besides, it hurts. So nothing came of
it. But I felt awfully flattered vis-à-vis the prestige. Deep down I
felt that he was a great poet and that I owe him a tiny bit of the
Divine Dalí's asshole.'
- ^ a b c Salvador Dalí: Olga's Gallery. Retrieved on July 22, 2006.
- ^ Paintings Gallery #5
- ^ Hodge, Nicola, and Libby Anson. The A–Z of Art: The World's Greatest and Most Popular Artists and Their Works. California: Thunder Bay Press, 1996. Online citation.
- ^ Phelan, Joseph
- ^ Koller, Michael. Un Chien Andalou. senses of cinema January 2001. Retrieved on July 26, 2006.
- ^ a b c Shelley, Landry. "Dalí Wows Crowd in Philadelphia". Unbound (The College of New Jersey) Spring 2005. Retrieved on July 22, 2006.
- ^ Clocking in with Salvador Dalí: Salvador Dalí's Melting Watches (PDF) from the Salvador Dalí Museum. Retrieved on August 19, 2006.
- ^ a b Salvador Dalí, La Conquête de l’irrationnel (Paris: Éditions surréalistes, 1935), p. 25.
- ^ Current Biography 1940, pp219-220
- ^ Luis Buñuel, My Last Sigh: The Autobiography of Luis Buñuel, Vintage 1984. ISBN 0816643873
- ^ Robin Adèle Greeley, Surrealism and the Spanish Civil War, Yale University Press, 2006, p81. ISBN 0300112955
- ^ Jackaman, Rob. (1989) Course of English Surrealist Poetry Since the 1930s, Edwin Mellen Press. ISBN 0-88946-932-6.
- ^ Current Biography 1940, p219
- ^ a b Artcyclopedia: Salvador Dalí. Retrieved September 4, 2006.
- ^ a b Descharnes, Robert and Nicolas. Salvador Dalí. New York: Konecky & Konecky, 1993. p. 35.
- ^ a b c Dalí's gift to exorcist uncovered Catholic News October 14, 2005
- ^ a b c Navarro, Vicente, Ph.D. "The Jackboot of Dada: Salvador Dalí, Fascist". Counterpunch. December 6, 2003. Retrieved July 22, 2006.
- ^ López, Ignacio Javier. The Old Age of William Tell (A study of Buñuel's Tristana). MLN 116 (2001): 295–314.
- ^ The Phantasmagoric Universe—Espace Dalí À Montmartre. Bonjour Paris. Retrieved on August 22, 2006.
- ^ The History and Development of Holography. Holophile. Retrieved on August 22, 2006.
- ^ Hello, Dalí. Carnegie Magazine. Retrieved on August 22, 2006.
- ^ Elliott H. King in Dawn Ades (ed.), Dalí, Bompiani Arte, Milan, 2004, p. 456.
- ^ Salvador Dalí Bio, Art on 5th Retrieved July 22, 2006.
- ^ Salvador Dalí at Le Meurice Paris and St Regis in New York Andreas Augustin, ehotelier.com, 2007
- ^ Scotsman review of Dirty Dalí
- ^ The Dali I knew By Brian Sewell, thisislondon.co.uk
- ^ Ian Gibson (1997). The Shameful Life of Salvador Dalí. W. W. Norton & Company.
- ^ "Dalí Resting at Castle After Injury in Fire". The New York Times. September 1, 1984. Retrieved July 22, 2006
- ^ Mark Rogerson (1989). The Dalí Scandal: An Investigation. Victor Gollancz. ISBN 0575037865.
- ^ Etherington -Smith, MeredithThe Persistence of Memory: A Biography of Dalí p. 411, 1995 Da Capo Press, ISBN 0306806622
- ^ Etherington -Smith, MeredithThe Persistence of Memory: A Biography of Dalí pp. xxiv, 411-412, 1995 Da Capo Press, ISBN 0306806622
- ^ http://www.salvador-dali.org/en_index.html | The Gala-Salvador Dalí Foundation website
- ^ http://arsny.com/requested.html | Most frequently requested artists list of the Artists Rights Society
- ^ Salvador Dalí, The Secret Life of Salvador Dalí (New York: Dial Press, 1942), p. 317.
- ^ Michael Taylor in Dawn Ades (ed.), Dalí (Milan: Bompiani, 2004), p. 342
- ^ a b Dalí Universe Collection. County Hall Gallery. Retrieved on July 28, 2006.
- ^ a b "Salvador Dalí's symbolism". County Hall Gallery. Retrieved on July 28, 2006
- ^ a b Lobster telephone. National Gallery of Australia. Retrieved on August 4, 2006.
- ^ Tate Collection | Lobster Telephone by Salvador Dalí. Tate Online. Retrieved on August 4, 2006.
- ^ Federico García Lorca. Pegásos. Retrieved on August 8, 2006.
- ^ a b c Dalí Rotterdam Museum Boijmans. Paris Contemporary Designs. Retrieved on August 8, 2006.
- ^ Past Exhibitions. Haggerty Museum of Art. Retrieved August 8, 2006.
- ^ "Dali & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.
- ^ "L’Age d’or (The Golden Age)" Harvard Film Archive. 2006. April 10, 2008. http://hcl.harvard.edu/hfa/films/2000novdec/bunuel.html
- ^ Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.
- ^ Elliott H. King, Dalí, Surrealism and Cinema, Kamera Books 2007, p. 169.
- ^ a b Dalí: Explorations into the domain of science. The Triangle Online. Retrieved August 8, 2006.
- ^ a b c Prose, Francine. (2000) The Lives of the Muses: Nine Women and the Arists they Inspired. Harper Perennial. ISBN 0060555254.
- ^ Lear, Amanda. (1986) My Life with Dalí. Beaufort Books. ISBN 0825303737.
- ^ Lozano, Carlos. (2000) Sex, Surrealism, Dalí, and Me. Razor Books Ltd. ISBN 0953820505.
- ^ Etherington-Smith, Meredith. (1995) The Persistence of Memory: A Biography of Dalí. Da Capo Press. ISBN 0306806622.
- ^ Vicente Navarro (December 12, 2003). "Salvador Dali, Fascist". CounterPunch. http://www.countercurrents.org/dali-navarro121203.htm.
- ^ http://www.arlindo-correia.com/180702.html
- ^ Vincente NavarroSalvador Dali, Fascist Counterpunch.org, 12 December, 2003
- ^ Payne,
Stanley G. THE A History of Spain and Portugal, Vol. 2, Ch. 26, p.
648-651 (Print Edition: University of Wisconsin Press, 1973) (LIBRARY
OF IBERIAN RESOURCES ONLINE Accessed May 15, 2007)
- ^ De
la Cueva, Julio Religious Persecution, Anticlerical Tradition and
Revolution: On Atrocities against the Clergy during the Spanish Civil
War, Journal of Contemporary History Vol XXXIII - 3, 1998
- ^ Salvador Dalí pictured with Francisco Franco
- ^ The Surreal World of Salvador Dalí. Smithsonian Magazine. 2005. Retrieved August 31, 2006
- ^ "The Salvador Dalí Online Exhibit". MicroVision. http://www.daliweb.tampa.fl.us/collection.htm. Retrieved on 2006-06-13.
- ^ a b "Dalí picture sprung from jail". BBC. March 2, 2003. http://news.bbc.co.uk/1/hi/world/americas/2812683.stm.
Biographies and news
||Dalí, Salvador Felip Jacint, Domènech; Dalí, Salvador Felipe Jacinto, Domènech
||20th century Catalan surrealist artist
|DATE OF BIRTH
||May 11, 1904
|PLACE OF BIRTH
||Figueres, Catalonia, Spain
|DATE OF DEATH
||January 23, 1989
|PLACE OF DEATH
||Figueres, Catalonia, Spain
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