Revision as of 19:07, 8 February 2016 view sourceIridescent (talk | contribs)Administrators402,626 editsm →Listing of selected works: Typo fixing, typo(s) fixed: , → , (2) using AWB← Previous edit | Latest revision as of 23:02, 28 November 2024 view source Personman (talk | contribs)Extended confirmed users1,192 editsm →LegacyTag: Visual edit | ||
Line 1: | Line 1: | ||
{{Short description|Spanish surrealist artist (1904–1989)}} | |||
{{For|the eponymous film|Salvador Dalí (film)}} | |||
{{Redirect|Dalí|other uses|Salvador Dalí (disambiguation)|and|Dalí (disambiguation)}} | |||
{{Use mdy dates|date=October 2011}}{{Catalan name|Dalí|Domènech}} | |||
{{pp-semi-indef|small=yes}} | |||
{{Use dmy dates|date=January 2024}} | |||
{{Use American English|date=April 2020}} | |||
{{Infobox artist | {{Infobox artist | ||
| honorific_suffix = ] | |||
| name = Salvador Dalí | |||
| |
| name = | ||
| honorific_prefix = ]<ref>{{Cite web |url=http://www.boe.es/aeboe/consultas/bases_datos/doc.php?id=BOE-A-1989-4234 |title=Boletín Oficial del Estado, the official gazette of the Spanish government |access-date=31 July 2010 |archive-date=30 June 2012 |archive-url=https://archive.today/20120630120254/http://www.boe.es/aeboe/consultas/bases_datos/doc.php?id=BOE-A-1989-4234 |url-status=dead }}</ref> | |||
| caption = Dalí photographed by ] on 29 November 1939 | |||
| image = Salvador Dalí 1939.jpg | |||
| birth_name = Salvador Domingo Felipe Jacinto Dalí i Domènech | |||
| caption = Dalí in 1939 | |||
| birth_date = {{birth date|1904|5|11|df=y}} | |||
| birth_name = Salvador Domingo Felipe Jacinto Dalí Doménech{{efn|name=name}} | |||
| birth_place = ], ], Spain | |||
| |
| birth_date = {{birth date|1904|5|11|df=y}} | ||
| |
| birth_place = ], Catalonia, ] | ||
| death_date = {{death date and age|1989|01|23|1904|05|11|df=y}} | |||
| resting_place = ] at ], Figueres | |||
| death_place = Figueres, Catalonia, Spain | |||
| nationality = Spanish | |||
| resting_place = ] at ], Figueres | |||
| religion = Roman Catholic | |||
| field = |
| field = Painting, drawing, photography, sculpture, writing, film, and jewelry | ||
| training = ], |
| training = ], Madrid, Spain | ||
| movement = ], ], ] | | movement = ], ], ] | ||
| works = {{plainlist| | |||
| works = '']'' (1931)<br />''Face of Mae West Which May Be Used as an Apartment'', (1935)<br />'']'' (1936)<br />'']'' (1937)<br />''Ballerina in a Death's Head'' (1939)<br />'']'' (1944) <br />'']'' (1946)<br />'']'' (1948)<br />'']'' (1952)<br />'']'' (1954) | |||
* '']'' (1931) | |||
| spouse = ] (Elena Ivanovna Diakonova)(1934-1982; her death) | |||
* '']'' (1936) | |||
| patrons = | |||
* '']'' (1944) | |||
| awards = | |||
* '']'' (1951) | |||
* '']'' (1952) | |||
* '']'' (1954) | |||
* '']'' (1960) | |||
* '']'' (1970)}} | |||
| spouse = {{marriage|]|1934|1982|end=died}} | |||
| patrons = | |||
| awards = | |||
| signature = Salvador dali signature.svg | |||
}} | }} | ||
'''Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol'''{{family name footnote|Dalí|Domènech|lang=Catalan}}{{efn|name=name|Dalí's name varied over his life. His birth name was officially registered as ''Salvador Domingo Felipe Jacinto Dalí Doménech''. His first names were in Spanish and his surnames ] despite being born in Catalonia, as at the time ]. His complete name in Catalan is ''Salvador Domènec Felip Jacint Dalí i Domènech''. In 1977 Catalan names were legalized, and he adopted the hybrid form (first names in Spanish, surnames in Catalan). This form and the purely Spanish and Catalan forms can all be seen in print today.}} {{Post-nominals|post-noms=]}} (11 May 1904{{spaced ndash}}23 January 1989), known as '''Salvador Dalí''' ({{IPAc-en|ˈ|d|ɑː|l|i|,_|d|ɑː|ˈ|l|iː}} {{respell|DAH|lee|,_|dah|LEE}};<ref> {{Webarchive|url=https://web.archive.org/web/20160308192432/http://dictionary.reference.com/browse/dali |date=8 March 2016 }}. '']''. {{Webarchive|url=https://web.archive.org/web/20170829203633/https://www.merriam-webster.com/dictionary/dali |date=29 August 2017 }}. '']''.</ref> {{IPA|ca|səlβəˈðo ðəˈli|lang}}; {{IPA|es|salβaˈðoɾ ðaˈli|lang}}),{{efn|In isolation, ''Dalí'' is pronounced {{IPA|ca|dəˈli|}} in Catalan and {{IPA|es|daˈli|}} in Spanish.}} was a Spanish ] artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work. | |||
'''Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Pubol''' (11 May 1904{{spaced ndash}}23 January 1989), known as '''Salvador Dalí''' ({{IPA-ca|səɫβəˈðo ðəˈɫi|lang}}; {{IPA-es|salβaˈðoɾ ðaˈli|lang}}), was a prominent ] ] painter born in ], ], Spain. | |||
Born in ] in ], Dalí received his formal education in fine arts in Madrid. Influenced by ] and the ] masters from a young age, he became increasingly attracted to ] and ] movements.<ref>Gibson, Ian, The Shameful Life of Salvador Dalí, London, Faber and Faber, 1997, Chs 2, 3</ref> He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, '']'', was completed in August 1931. Dalí lived in France throughout the ] (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments.<ref>Gibson, Ian, ''The Shameful Life of Salvador Dali'' (1997)</ref> | |||
Dalí was a skilled ], best known for the striking and bizarre images in his surrealist work. His ] skills are often attributed to the influence of ] masters.<ref>{{cite web|url=http://www.artcyclopedia.com/feature-2005-03.html |title=Phelan, Joseph, ',The Salvador Dalí Show |publisher=Artcyclopedia.com |accessdate=August 22, 2010}}</ref><ref name=Dali>Dalí, Salvador. (2000) '''', Courier Dover Publications. ISBN 0-486-41074-9.</ref> His best-known work, '']'', was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media. | |||
Dalí's artistic repertoire included painting, sculpture, film, graphic arts, animation, fashion, and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays, and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork.<ref>{{cite web |last=Saladyga |first=Stephen Francis |url=http://purple.niagara.edu/jlittle/lamplighter/saladyga.htm |title=The Mindset of Salvador Dalí |archive-url=https://web.archive.org/web/20060906040713/http://purple.niagara.edu/jlittle/lamplighter/saladyga.htm |archive-date=6 September 2006 |work=Lamplighter |publisher=] |volume=1 |issue=3 |year=2006 |access-date=22 July 2006}}</ref><ref name="Meisler">{{cite web|last1=Meisler|first1=Stanley|title=The Surreal World of Salvador Dalí|url=http://www.smithsonianmag.com/arts-culture/the-surreal-world-of-salvador-dali-78993324/|website=Smithsonian.com|publisher=Smithsonian Magazine|access-date=12 July 2014|date=April 2005|archive-date=18 May 2014|archive-url=https://web.archive.org/web/20140518170614/http://www.smithsonianmag.com/arts-culture/the-surreal-world-of-salvador-dali-78993324/|url-status=live}}</ref> His public support for the ], his commercial activities and the quality and authenticity of some of his late works have also been controversial.<ref name="Gibson, Ian 1997, passim">Gibson, Ian (1997), ''passim''</ref> His life and work were an important influence on other Surrealists, ], popular culture, and contemporary artists such as ] and ].<ref name=":9" /><ref name=":8">{{Cite web|title=Salvador Dalí's iconic Lobster Telephone acquired by National Galleries of Scotland|url=https://www.nationalgalleries.org/press-office/press-releases-2018|date=17 December 2018|website=National Galleries Scotland|access-date=20 May 2020|archive-date=6 August 2020|archive-url=https://web.archive.org/web/20200806210738/https://www.nationalgalleries.org/press-office/press-releases-2018|url-status=live}}</ref> | |||
Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"<ref>{{cite book | author=Ian Gibson | title=The Shameful Life of Salvador Dalí | year=1997 | publisher=W. W. Norton & Company | url=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 ], Tunisia, ] or ]. On the other hand, also according to Gibson, Dalí's mother's family, the Domènech of Barcelona, had Jewish roots.</ref> to an "Arab lineage", claiming that his ancestors were descended from the ]. | |||
There are two major museums devoted to Salvador Dalí's work: the ] in ], Spain, and the ] in ], U.S. | |||
Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics.<ref>Saladyga, Stephen Francis. . ''lamplighter (Niagara University)''. Vol. 1 No. 3, Summer 2006. Retrieved July 22, 2006.</ref><ref name=Meisler>{{cite web|last1=Meisler|first1=Stanley|title=The Surreal World of Salvador Dalí|url=http://www.smithsonianmag.com/arts-culture/the-surreal-world-of-salvador-dali-78993324/|website=Smithsonian.com|publisher=Smithsonian Magazine|accessdate=2014-07-12|date=April 2005}}</ref> | |||
==Biography== | == Biography == | ||
=== Early life === | |||
] | |||
Salvador Dalí was born on 11 May 1904, at 8:45 am,<ref>Gibson, Ian (1997) p. 22</ref> on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the ] ], close to the French border in Catalonia, Spain.<ref>{{Cite news|url=http://elpais.com/diario/2008/02/14/catalunya/1202954863_850215.html|title=Dalí recupera su casa natal, que será un museo en 2010|date=14 February 2008|access-date=26 June 2017|newspaper=El País|archive-date=2 July 2017|archive-url=https://web.archive.org/web/20170702002432/http://elpais.com/diario/2008/02/14/catalunya/1202954863_850215.html|url-status=live}}</ref> Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950)<ref>Gibson, Ian (1997) pp. 6, 459, 633, 689</ref> was a middle-class lawyer and notary,<ref name=Llongueras>Llongueras, Lluís. (2004) ''Dalí'', Ediciones B – Mexico. {{ISBN|84-666-1343-9}}.</ref> an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921),<ref>Gibson, Ian (1997) pp. 16, 82, 634, 644</ref> who encouraged her son's artistic endeavors.<ref name=Rojas>Rojas, Carlos. '' {{Webarchive|url=https://web.archive.org/web/20160419024412/https://books.google.com/books?id=MWF5s2yfFqwC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=19 April 2016 }}'', Penn State Press (1993). {{ISBN|0-271-00842-3}}.</ref> In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10).<ref name="Gibson, Ian 1997">Gibson, Ian (1997)</ref><ref>Dalí, '']'', 1948, London: Vision Press, p. 33</ref> Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"<ref>{{cite book | author=Ian Gibson | title=The Shameful Life of Salvador Dalí | year=1997 | publisher=W. W. Norton & Company | url=https://www.nytimes.com/books/first/g/gibson-dali.html | access-date=12 February 2017 | archive-date=19 February 2017 | archive-url=https://web.archive.org/web/20170219133318/http://www.nytimes.com/books/first/g/gibson-dali.html | url-status=live }} Gibson found out that "Dalí" (and its many variants) is an extremely common surname in Arab countries like ], ], ] or ]. On the other hand, also according to Gibson, Dalí's mother's family, the Domènech of ], had Jewish roots.</ref> to an "Arab lineage", claiming that his ancestors were descendants of the ].<ref name="Meisler" /><ref name="isbn0-571-19380-3">Gibson, Ian (1997) pp. 238–39</ref> | |||
===Early life=== | |||
] | |||
Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí said of him, " resembled each other like two drops of water, but we had different reflections."<ref name="Dalí, Secret Life, p.2">Dalí, Secret Life, p. 2</ref> He "was probably the first version of myself but conceived too much in the absolute".<ref name="Dalí, Secret Life, p.2"/> Images of his brother would reappear in his later works, including ''Portrait of My Dead Brother'' (1963).<ref>Gibson, Ian (1997). p. 23</ref> | |||
Salvador Domingo Felipe Jacinto Dalí i Domènech was born on 11 May 1904, at 8:45 am GMT,<ref>Birth certificate and {{cite web | url=http://www.salvadordalimuseum.org/history/biography.html | title=Dalí Biography | publisher=Dalí Museum | work=Dalí Museum | accessdate=August 24, 2008}}</ref> at the 1st floor of , in the town of ], in the ] ], close to the French border in ], Spain.<ref></ref> In the Summer of 1912, the family moved to the top floor of .<ref>{{cite book | author=Ian Gibson | title=The Shameful Life of Salvador Dalí | year=1997 | publisher=W. W. Norton & Company | url=http://www.nytimes.com/books/first/g/gibson-dali.html }}</ref><ref>Dalí, '']'', 1948, London: Vision Press, p.33</ref> Dalí's older brother, who had also been ] (born 12 October 1901), had died of ] nine months earlier, on 1 August 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary<ref name=Llongueras>Llongueras, Lluís. (2004) ''Dalí'', Ediciones B – Mexico. ISBN 84-666-1343-9.</ref> whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.<ref name=Rojas>Rojas, Carlos. '''', Penn State Press (1993). ISBN 0-271-00842-3.</ref> | |||
Dalí also had a sister, Ana María, who was three years younger,<ref name=Llongueras /> and whom Dalí painted 12 times between 1923 and 1926.<ref>Gibson, Ian (1997). p. 109</ref> | |||
When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,<ref name=sina>. '']''. Retrieved on July 31, 2006.</ref> a concept which he came to believe.<ref> on astrodatabank.com. Retrieved September 30, 2006.</ref> Of his brother, Dalí said, "... resembled each other like two drops of water, but we had different reflections."<ref name="Dalí, Secret Life, p.2">Dalí, Secret Life, p.2</ref> He "was probably a first version of myself but conceived too much in the absolute."<ref name="Dalí, Secret Life, p.2"/> Images of his long-dead brother would reappear embedded in his later works, including ''Portrait of My Dead Brother'' (1963). | |||
His childhood friends included future ] footballers ] and ]. During holidays at the Catalan resort town of ], the trio played football together.<ref>{{Cite book|url=https://books.google.com/books?id=C7zKauiqMG8C|title=El fútbol tiene música|last=Martín Otín|first=José Antonio|publisher=Córner|year=2011|isbn=978-84-15242-00-0|chapter=Un tanguito de arrabal|access-date=13 September 2020|archive-date=8 October 2021|archive-url=https://web.archive.org/web/20211008111944/https://books.google.com/books?id=C7zKauiqMG8C|url-status=live}}</ref> | |||
Dalí also had a sister, Anna Maria, who was three years younger.<ref name=Llongueras /> In 1949, she published a book about her brother, ''Dalí As Seen By His Sister''.<ref>{{cite web|url=http://www.artelino.com/articles/dali.asp|title=Dalí Biography 1904–1989 – Part Two|publisher=artelino.com|accessdate =September 30, 2006}}</ref> His childhood friends included future ] footballers ] and ]. During holidays at the Catalan resort of ], the trio played ] together. | |||
Dalí attended |
Dalí attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on a summer vacation trip to Cadaqués with the family of ], a local artist who made regular trips to Paris.<ref name=Llongueras /> 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 Theatre in Figueres in 1918,<ref>{{Cite web|url=http://dali.jp/en/collection/dali.php|title=Who was Salvador Dalí?|Collection|Morohashi Museum of Modern Art|website=dali.jp|access-date=15 December 2018|archive-date=15 December 2018|archive-url=https://web.archive.org/web/20181215223351/http://dali.jp/en/collection/dali.php|url-status=live}}</ref> a site he would return to decades later. In early 1921 the Pichot family introduced Dalí to ]. That same year, Dalí's uncle Anselm Domènech, who owned a bookshop in Barcelona, supplied him with books and magazines on ] and contemporary art.<ref>Gibson, Ian (1997), pp. 78–81</ref> | ||
On 6 February 1921, Dalí's mother died of uterine cancer.<ref>Gibson, Ian (1997) p. 82</ref> Dalí was 16 years old and 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."<ref name="Meisler" /><ref>Dalí, Secret Life, pp. 152–53</ref> After the death of Dali's mother, Dalí's father married her sister. Dalí did not resent this marriage, because he had great love and respect for his aunt.<ref name=Llongueras /> | |||
===Madrid and Paris=== | === Madrid, Barcelona and Paris === | ||
] |
], Turó Park de la Guineueta, Barcelona, 1925]] | ||
In 1922, Dalí moved into the ] (Students' Residence) in |
In 1922, Dalí moved into the ] (Students' Residence) in Madrid<ref name=Llongueras /> and studied at the ] (San Fernando Royal Academy of Fine Arts). A lean {{convert|1.72|m|ftin|frac=8}} tall,<ref>As listed in {{Webarchive|url=https://web.archive.org/web/20210225164519/http://www.gaudiclub.com/esp/e_links/dali/2004mar18_1.asp |date=25 February 2021 }}, aged 20. However, his hairdresser and biographer, Luis Llongueras, stated Dalí was {{convert|1.74|m|ftin|frac=8}} tall.</ref> Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English ] of the late 19th century.<ref>Gibson, Ian (1997), p. 90</ref> | ||
At the Residencia, he became close friends with |
At the Residencia, he became close friends with ], ], ], and others associated with the Madrid avant-garde group Ultra.<ref>Gibson, Ian (1997), pp. 92–98</ref> The friendship with Lorca had a strong element of mutual passion,<ref>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 ].</ref> but Dalí said he rejected the poet's sexual advances.<ref name="conversations">Bosquet, Alain, '' {{Webarchive|url=https://web.archive.org/web/20110728071536/http://www.ubu.com/historical/dali/dali_conversations.pdf |date=28 July 2011 }}'', 1969. pp. 19–20. (PDF)</ref> Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at the hands of ] forces in 1936 at the beginning of the ].<ref name="Gibson, Ian 1997, passim"/> | ||
Also in 1922, he began what would become a lifelong relationship with the ], which he felt was, 'incontestably the best museum of old paintings in the world.'<ref>{{Cite web|url=https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/|title=Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala – Salvador Dalí|access-date=15 July 2020|archive-date=15 July 2020|archive-url=https://web.archive.org/web/20200715151331/https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/|url-status=live}}</ref> Each Sunday morning, Dalí went to the Prado to study the works of the great masters. 'This was the start of a monk-like period for me, devoted entirely to solitary work: visits to the Prado, where, pencil in hand, I analyzed all of the great masterpieces, studio work, models, research.'<ref>{{Cite web|url=https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/#nota-2|title=Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala – Salvador Dalí|access-date=15 July 2020|archive-date=15 July 2020|archive-url=https://web.archive.org/web/20200715151331/https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/#nota-2|url-status=live}}</ref> | |||
However it was his paintings, in which he experimented with ], that earned him the most attention from his fellow students. His only information on Cubist art had come 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 ] poem ''Les bruixes de ]'' ("The Witches of Llers") by his friend and schoolmate, poet ]. Dalí also experimented with ], which influenced his work throughout his life. | |||
Those paintings by Dalí in which he experimented with Cubism earned him the most attention from his fellow students, since there were no Cubist artists in Madrid at the time.<ref> {{Webarchive|url=https://web.archive.org/web/20200806230719/https://books.google.fr/books?id=K0H3fYErskYC&lpg=PA24&ots=-ktQ5sQaeb&dq=dali%20Cubist%20art%2C%20students%2C%20a%20catalog%20given%20to%20him%20by%20Pichot&pg=PA24#v=onepage&q=dali%20Cubist%20art,%20students,%20a%20catalog%20given%20to%20him%20by%20Pichot&f=false |date=6 August 2020 }}, Chicago Review Press, 2003, p. 24. {{ISBN|1-61374-275-4}}</ref> '']'' (1922) is a typical example of such work. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including ] and ]. One of his earliest works to show a strong Futurist and Cubist influence was the watercolor ''Night-Walking Dreams'' (1922).<ref>Gibson, Ian (1997), pp. 97–98</ref> At this time, Dalí also read Freud and ] who were to have a profound influence on his work.<ref>Gibson, Ian (1997), pp. 116–119</ref> | |||
Dalí was expelled from the Academy in 1926, shortly before his final exams when he was accused of starting an unrest.<ref name="Meisler" /><ref name=olga>. Retrieved on July 22, 2006.</ref> His mastery of painting skills at that time was evidenced by his realistic '']'', painted in 1926.<ref>{{cite web|url=http://www.dali-gallery.com/html/galleries/painting05.htm |title=Paintings Gallery No. 5 |publisher=Dali-gallery.com |accessdate=August 22, 2010}}</ref> That same year, he made his first visit to Paris, where he met ], whom the young Dalí revered.<ref name="Meisler" /> Picasso had already heard favorable reports about Dalí from ], a fellow Catalan who introduced him to many Surrealist friends.<ref name="Meisler" /> As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró. | |||
In May 1925 Dalí exhibited eleven works in a group exhibition held by the newly formed ''Sociedad Ibérica de Artistas'' in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. Several leading critics praised his work.<ref>Gibson, Ian (1997), pp. 123–25</ref> Dalí held his first solo exhibition at ] in Barcelona, from 14 to 27 November 1925.<ref name="Fèlix Fanés"> {{Webarchive|url=https://web.archive.org/web/20180422133234/https://books.google.es/books?id=bDpziok_K7gC&dq=galeries+dalmau&source=gbs_navlinks_s |date=22 April 2018 }}, Yale University Press, 2007, {{ISBN|0-300-09179-6}}</ref><ref>{{cite web| url = http://pandora.girona.cat/viewer.vm?id=2934417&view=dalmau&lang=en| title = Exposició Salvador Dalí, Galeries Dalmau, 14–28 November 1925, exhibition catalog| access-date = 24 May 2018| archive-date = 2 May 2018| archive-url = https://web.archive.org/web/20180502212540/http://pandora.girona.cat/viewer.vm?id=2934417&view=dalmau&lang=en| url-status = live}}</ref> This exhibition, before his exposure to Surrealism, included twenty-two works and was a critical and commercial success.<ref>Gibson, Ian (1997), pp. 126–27</ref> | |||
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 ].<ref>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. .</ref> His classical influences included ], ], ], ] and ].<ref>{{cite web|url=http://www.artcyclopedia.com/feature-2005-03.html |title=Phelan, Joseph |publisher=Artcyclopedia.com |accessdate=August 22, 2010}}</ref> He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in ] attracted much attention along with mixtures of praise and puzzled debate from critics. | |||
In April 1926 Dalí made his first trip to Paris where he met ], whom he revered.<ref name="Meisler"/> Picasso had already heard favorable reports about Dalí from ], a fellow Catalan who later introduced him to many Surrealist friends.<ref name="Meisler" /> As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró.<ref>Gibson, Ian (1997), pp. 130–31</ref> Dalí was also influenced by the work of ], and he later allegedly told Tanguy's niece, "I pinched everything from your uncle Yves."<ref>Gibson, Ian (1997), p. 163</ref> | |||
Dalí grew a flamboyant ], influenced by 17th-century Spanish master painter ]. The moustache became an iconic trademark of his appearance for the rest of his life. | |||
Dalí left the Royal Academy in 1926, shortly before his final exams.<ref name="Meisler" /> His mastery of painting skills at that time was evidenced by his realistic '']'', painted in 1926.<ref>{{cite web |url=http://www.dali-gallery.com/html/galleries/painting05.htm |title=Paintings Gallery No. 5 |publisher=Dali-gallery.com |access-date=22 August 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100827234135/http://www.dali-gallery.com/html/galleries/painting05.htm |archive-date=27 August 2010 }}</ref> | |||
===1929 to World War II=== | |||
In 1929, Dalí collaborated with surrealist film director ] on the short film {{lang|fr|'']''}} (''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.<ref>Koller, Michael. . ''senses of cinema'' January 2001. Retrieved on July 26, 2006.</ref> Also, in August 1929, Dalí met his lifelong and primary ], inspiration, and future wife ],<ref name=unbound>Shelley, Landry. . ''Unbound'' (]) Spring 2005. Retrieved on July 22, 2006.</ref> born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to ] poet ]. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the ] quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called his ] of accessing the ] for greater artistic creativity.<ref name=Llongueras /><ref name=Rojas /> | |||
Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic {{Interlanguage link|Sebastià Gasch|es}}.<ref name="Pàmies"> {{Webarchive|url=https://web.archive.org/web/20170809034049/https://repositori.upf.edu/bitstream/handle/10230/22029/Andres_13.pdf?sequence=1 |date=9 August 2017 }}, 2012–13, Facultat d'Humanitats, Universitat Pompeu Fabra</ref><ref>{{cite web| url = http://pandora.girona.cat/viewer.vm?id=2934087&view=dalmau&lang=en| title = Exposició de Salvador Dalí, Galeries Dalmau, Passeig de Gràcia, 31 December 1926 – 14 January 1927, exhibition catalog (other versions)| access-date = 24 May 2018| archive-date = 2 May 2018| archive-url = https://web.archive.org/web/20180502212327/http://pandora.girona.cat/viewer.vm?id=2934087&view=dalmau&lang=en| url-status = live}}</ref> The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with ''Composition with Three Figures (Neo-Cubist Academy)'' singled out for particular attention.<ref>Gibson, Ian (1997), pp. 147–49</ref> | |||
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 final 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".<ref name="Meisler" /><ref name="isbn0-571-19380-3">{{cite book |author=Gibson, Ian |title=The Shameful Life of Salvador Dalí |publisher=Faber and Faber |location=London |year=1997 |pages=238–9|isbn=0-571-19380-3}}</ref> | |||
]]] | |||
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 be ], and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at ]. He bought the place, and over the years enlarged it by buying the neighbouring fishermen cabins, gradually building his much beloved ] by the sea. Dalí's father would eventually relent and come to accept his son's companion.<ref name=GalaGSDF>{{cite web|title=Gala Biography|url=http://www.salvador-dali.org/dali/en_biografia-gala.html|work=Dalí|publisher=Gala-Salvador Dalí Foundation|accessdate=27 May 2012}}</ref> | |||
From 1927 Dalí's work became increasingly influenced by Surrealism. Two of these works, ''Honey is Sweeter than Blood'' (1927) and ''Gadget and Hand'' (1927), were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, ''Honey is Sweeter than Blood'', as "equidistant between Cubism and Surrealism".<ref>Gibson, Ian (1997) p. 162</ref> The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among the public and debate among critics about whether Dalí had become a Surrealist.<ref>Gibson, Ian (1997), p. 171</ref> | |||
] (1931).'']] | |||
In 1931, Dalí painted one of his most famous works, '']'',<ref> (PDF) from the Salvador Dalí Museum. Retrieved on August 19, 2006.</ref> which introduced a surrealistic image of soft, melting ]es. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or ]. This idea is supported by other images in the work, such as the wide expanding landscape, and other limp watches shown being devoured by ants.<ref name=Conquete>Salvador Dalí, {{lang|fr|''La Conquête de l'irrationnel''}} (Paris: Éditions surréalistes, 1935), p. 25.</ref> | |||
Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work. He submitted ''Dialogue on the Beach (Unsatisfied Desires)'' (1928) to the Barcelona Autumn Salon for 1928 but the work was rejected because "it was not fit to be exhibited in any gallery habitually visited by the numerous public little prepared for certain surprises."<ref>Gibson, Ian (1997), p. 287</ref> The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dalí.<ref>Gibson, Ian (1997) pp. 186–190</ref> | |||
Dalí and Gala, having lived together since 1929, were married in 1934 in a semi-secret civil ceremony. They later remarried in a Catholic ceremony in 1958.<ref>''Carré d'Art'', ], Paris, Anagramme, 2008, p. 212</ref> In addition to inspiring many artworks throughout her life, Gala would act as Dalí's ], supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of his muse. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, ''Jo, Dalí'' (''I, Dalí'') by ] composer ].<ref name=Opera>{{cite web|last=Amengual|first=Margalida|title=An opera on the relationship between Salvador Dalí and Gala arrives at Barcelona’s Liceu|url=http://www.catalannewsagency.com/news/culture/opera-relationship-between-salvador-dal%C3%AD-and-gala-arrives-barcelona’s-liceu|work=Catalan News Agency (CNA)|publisher=Intracatalònia, SA|accessdate=27 May 2012|date=17 October 2011}}</ref> | |||
Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge ].<ref>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. .</ref> His classical influences included ], ], ], ] and ].<ref>{{cite web |url=http://www.artcyclopedia.com/feature-2005-03.html |title=Phelan, Joseph |publisher=Artcyclopedia.com |access-date=22 August 2010 |archive-date=13 March 2014 |archive-url=https://web.archive.org/web/20140313074331/http://www.artcyclopedia.com/feature-2005-03.html |url-status=live }}</ref> Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works.<ref> {{Webarchive|url=https://web.archive.org/web/20200806232725/https://books.google.fr/books?id=6EvIx6zOuqgC&lpg=PA319&dq=%22August%20Agero%22%20%22galeries%20dalmau%22&pg=PA317#v=snippet&q=dalmau,%20dali&f=false |date=6 August 2020 }}, U of Nebraska Press, 2012. p. 202. {{ISBN|0-300-12106-7}}</ref> | |||
Dalí was introduced to the United States by art dealer ] in 1934. The exhibition in New York of Dalí's works, including ''Persistence of Memory'', created an immediate sensation. ] listees feted him at a specially organized "Dalí Ball". He showed up wearing a glass case on his chest, which contained a brassiere.<ref>Current Biography 1940, pp. 219–220</ref> In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress ]. For their costumes, they dressed as the ] and his ]. 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.<ref>Luis Buñuel, ''My Last Sigh: The Autobiography of Luis Buñuel'', Vintage 1984. ISBN 0-8166-4387-3</ref> | |||
In the mid-1920s Dalí grew a neatly trimmed mustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter ], and this mustache became a well known Dalí icon.<ref> {{Webarchive|url=https://web.archive.org/web/20200806232229/https://archive.thedali.org/mwebimages/MIMSY%20SUPPORTING%20DOC/Dali%20and%20the%20Spanish%20Baroque%20Guide.pdf |date=6 August 2020 }}, Salvado Dalí Museum, St. Petersburg, Fl. 2007</ref> | |||
While the majority of the Surrealist artists had become increasingly associated with ] politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist ] accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention".<ref>Greeley, Robin Adèle (2006). '''', Yale University Press. p. 81. ISBN 0-300-11295-5.</ref> Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce ].{{Citation needed|date=April 2009}} 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.<ref name=unbound /> To this, Dalí retorted, "I myself am surrealism".<ref name=olga /> | |||
=== 1929 to World War II === | |||
In 1936, Dalí took part in the ]. His lecture, titled {{lang|fr|''Fantômes paranoiaques authentiques''}}, was delivered while wearing a deep-sea ] and helmet.<ref>Jackaman, Rob. (1989) '''', Edwin Mellen Press. ISBN 0-88946-932-6.</ref> He had arrived carrying a ] and leading a pair of ]s, 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."<ref>Current Biography 1940, p219</ref> In 1936, Dalí, aged 32, was featured on the cover of '']'' magazine.<ref name="Meisler" /> | |||
]]] | |||
In 1929, Dalí collaborated with Surrealist film director ] on the short film {{lang|fr|]}} (''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.<ref>{{cite web |last=Koller |first=Michael |url=http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html |language=fr |title=Un Chien Andalou |archive-url=https://web.archive.org/web/20101225061923/http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html |archive-date=25 December 2010 |work=Senses of Cinema |date=January 2001 |access-date=26 July 2006}}</ref> In August 1929, Dalí met his lifelong muse and future wife ],<ref name=unbound>Shelley, Landry. {{Webarchive|url=https://web.archive.org/web/20171108082607/http://www.tcnj.edu/~unbound/spring2005/articles/a2 |date=8 November 2017 }}. ''Unbound'' (]) Spring 2005. Retrieved on 22 July 2006.</ref> born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet ].<ref>Gibson, Ian (1997) pp. 218–20</ref> | |||
Also in 1936, at the premiere screening of ]'s film '']'' at Julien Levy's gallery in New York City, Dalí became famous for another incident. Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the ], featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made", he said. "I never wrote it down or told anyone, but it is as if he had stolen it". Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!"<ref>{{cite web|url=http://andel.home.mindspring.com/cornell_notes.htm |title=Program Notes by Andy Ditzler (2005) and Deborah Solomon, ''Utopia Parkway: The Life of Joseph Cornell'' (New York: Farrar, Straus, and Giroux, 2003) |publisher=Andel.home.mindspring.com |accessdate=August 22, 2010}}</ref> | |||
In works such as '']'', '']'' and '']'' Dalí continued his exploration of the themes of sexual anxiety and unconscious desires.<ref>Gibson, Ian (1997) pp. 206–08, 231–32</ref> Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, ] described Dalí's new work as "the most hallucinatory that has been produced up to now".<ref name="Gibson, Ian 1997 p 237">Gibson, Ian (1997) p. 237</ref> The exhibition was a commercial success but the critical response was divided.<ref name="Gibson, Ian 1997 p 237"/> In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his ] of accessing the subconscious for greater artistic creativity.<ref name="Llongueras" /><ref name="Rojas" /> | |||
In this period, Dalí's main patron in London was the very wealthy ]. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the '']'' and the '']''.{{Citation needed|date=August 2009}} | |||
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 final 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".<ref name="Meisler" /><ref name="isbn0-571-19380-3" /> 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 28 December 1929. His father told him that he would be disinherited and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at ]. He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.<ref name="GalaGSDF">{{cite web|title=Gala Biography|url=http://www.salvador-dali.org/dali/en_biografia-gala.html|work=Dalí|publisher=Gala-Salvador Dalí Foundation|access-date=27 May 2012|archive-url=https://web.archive.org/web/20120626181620/http://www.salvador-dali.org/dali/en_biografia-gala.html|archive-date=26 June 2012|url-status=dead}}</ref> | |||
Meanwhile, Spain was going through ] (1936-1939), with many artists taking a side or going into exile. | |||
In 1931, Dalí painted one of his most famous works, '']'',<ref> {{Webarchive|url=https://web.archive.org/web/20060921144258/http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf |date=21 September 2006 }} (PDF) from the Salvador Dalí Museum. Retrieved on 19 August 2006.</ref> which developed 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 other limp watches shown being devoured by ants.<ref name=Conquete>Salvador Dalí, {{lang|fr|La Conquête de l'irrationnel}} (Paris: Éditions surréalistes, 1935), p. 25.</ref> | |||
In 1938, Dalí met ] thanks to ]. Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others that "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.<ref name="Meisler" /> | |||
Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932. The earlier exhibition included sixteen paintings of which ''The Persistence of Memory'' attracted the most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as ''Hypnagogic Clock'' and ''Clock Based on the Decomposition of Bodies''.<ref>Gibson, Ian (1997) pp. 279–283, 299–300</ref> Dalí's last, and largest, the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings, and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament".<ref>Gibson, Ian (1997) pp. 314–15</ref> Dalí's first New York exhibition was held at ]'s gallery in November–December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The ''New Yorker'' critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares".<ref>Gibson, Ian (1997), p. 316</ref> | |||
Later, in September 1938, Salvador Dalí was invited by Gabrielle ] to her house "]" in ] on the ]. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York.<ref>''Salvador Dalí Exhibition'', Exhibition Catalogue – February 16 through May 15, 2005</ref><ref>. Philadelphia.about.com (2005-05-15). Retrieved on 2014-05-12.</ref> At the end of the 20th century, "La Pausa" was partially replicated at the ] to welcome the Reeves collection and part of Chanel's original furniture for the house.<ref>{{cite book| title=Impressionist paintings, drawings, and sculpture from the Wendy and Emery Reeves Collection |first=Richard R. |last=Bretell |year=1995 |publisher=Dallas Museum of Art |isbn= 978-0-936227-15-3 }}</ref> | |||
Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.<ref>Gibson, Ian (1997) p. 323</ref> They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell.<ref>Gibson, Ian (1997) p. 492</ref> In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala, who herself engaged in extra-marital affairs,<ref>Gibson, Ian (1997) pp. 421–22, 508–10, 620–21</ref> seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of her. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, ''Jo, Dalí'' (''I, Dalí'') by Catalan composer Xavier Benguerel.<ref name="Opera">{{cite web|last=Amengual|first=Margalida|title=An opera on the relationship between Salvador Dalí and Gala arrives at Barcelona's Liceu|url=http://www.catalannewsagency.com/culture/item/an-opera-on-the-relationship-between-salvador-dali-and-gala-arrives-at-barcelonas-liceu|work=Catalan News Agency (CNA)|publisher=Intracatalònia, SA|access-date=27 May 2012|date=14 December 2016|archive-date=20 December 2016|archive-url=https://web.archive.org/web/20161220175608/http://www.catalannewsagency.com/culture/item/an-opera-on-the-relationship-between-salvador-dali-and-gala-arrives-at-barcelonas-liceu|url-status=live}}</ref> | |||
Also in 1938, Dalí unveiled '']'', a three-dimensional artwork, consisting of an actual automobile with two ] occupants. The piece was first displayed at the Galerie Beaux-Arts in Paris at the ], organised by ] and ]. The Exposition was designed by artist ], who also served as host.<ref>{{cite web|url=http://www.salvador-dali.org/dali/en_biografia.html|title=Salvador Dalí's Biography - Gala - Salvador Dali Foundation|work=salvador-dali.org|accessdate=February 14, 2015}}</ref><ref>{{cite web|url=https://books.google.com/books?id=lPN0xxpA6OsC&pg=RA1-PA27|title=Paris 1937|work=google.com|accessdate=February 14, 2015}}</ref><ref>{{cite web|url=https://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|title=Leo and His Circle|work=google.com|accessdate=February 14, 2015}}</ref> | |||
] artist ] in Paris on 16 June 1934]] | |||
At the ], Dalí debuted his '']'' surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, and live nude models in "costumes" made of fresh seafood, an event photographed by ], ] and ]. Like most attractions in the Amusements Area, an admission fee was charged.<ref name="DrmVns" /> | |||
Dalí's first visit to the United States in November 1934 attracted widespread press coverage. His second New York exhibition was held at the Julien Levy Gallery in November–December 1934 and was again a commercial and critical success. Dalí delivered three lectures on Surrealism at the ] (MoMA) and other venues during which he told his audience for the first time that "he only difference between me and a madman is that I am not mad."<ref>Gibson, Ian (1997), pp. 336–41</ref> The heiress ], the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head. A Paris newspaper later claimed that the Dalís had dressed as the ] and his ], a claim which Dalí denied.<ref>Gibson, Ian (1997), pp. 342–43</ref> | |||
] | |||
While the majority of the Surrealist group 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 ] accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention".<ref>Greeley, Robin Adèle (2006). '' {{Webarchive|url=https://web.archive.org/web/20160419062109/https://books.google.com/books?id=2w1QddhP56wC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=19 April 2016 }}'', Yale University Press. p. 81. {{ISBN|0-300-11295-5}}.</ref> Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism.<ref>{{Cite book|url=https://books.google.com/books?id=MORRDQAAQBAJ&pg=PT62|title=The Creative Underground : Art, Politics and Everyday Life|last=Clements|first=Paul|publisher=Taylor and Francis|year=2016|isbn=978-1-317-50128-2|access-date=11 September 2017|archive-date=6 February 2022|archive-url=https://web.archive.org/web/20220206234545/https://books.google.com/books?id=MORRDQAAQBAJ&pg=PT62|url-status=live}}</ref> Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group.<ref>Shanes, Eric (2012). '' {{Webarchive|url=https://web.archive.org/web/20200209185600/https://books.google.com/books?id=eDQqcrMy8M8C&pg=PA53 |date=9 February 2020 }}''. Parkstone. p. 53. {{ISBN|1-78042-879-0}}.</ref> To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist."<ref> {{Webarchive|url=https://web.archive.org/web/20180917144729/https://books.google.es/books?id=vYcGAAAAMAAJ |date=17 September 2018 }}, Denoël, 1968</ref><ref> {{Webarchive|url=https://web.archive.org/web/20180917143252/https://books.google.es/books?id=ub6fAAAAMAAJ |date=17 September 2018 }}, Éditions Ramsay, 1984, p. 125</ref> | |||
] in 1936]] | |||
In 1939, André Breton coined the derogatory nickname "Avida Dollars", an ] for "Salvador Dalí", which may be more or less translated as "eager for dollars".<ref name=artcyclopedia>. Retrieved September 4, 2006.</ref> This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the ] at the time, expelled him from their movement.<ref name="Meisler" /> Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead.{{Citation needed|date=August 2009}} The Surrealist movement and various members thereof (such as ]) would continue to issue extremely harsh ] against Dalí until the time of his death, and beyond. | |||
In 1936, Dalí took part in the '']''. His lecture, titled {{lang|fr|Fantômes paranoiacs authentiques}}, was delivered while wearing a deep-sea diving suit and helmet.<ref>Jackaman, Rob. (1989) '' {{Webarchive|url=https://web.archive.org/web/20160419054822/https://books.google.com/books?id=DV9_6DAOSscC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=19 April 2016 }}'', ]: ]. {{ISBN|0-88946-932-6}}.</ref> 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."<ref>Gibson, Ian (1997) pp. 359–60</ref> | |||
Dalí's first solo London exhibition was held at the Alex, Reid, and Lefevre Gallery the same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although the Daily Telegraph critic wrote: "These pictures from the subconscious reveal so skilled a craftsman that the artist's return to full consciousness may be awaited with interest."<ref>Gibson, Ian (1997) pp. 358–59</ref> | |||
===World War II=== | |||
In 1940, as ] tore through Europe, Dalí and Gala retreated to the United States, where they lived for eight years. They were able to escape because on June 20, 1940, they were issued visas by ], Portuguese consul in Bordeaux, France. Dalí’s arrival in New York was one of the catalysts in the development of that city as a world art center in the post-War years.<ref>. Sousa Mendes Foundation (1940-06-20). Retrieved on 2014-05-12.</ref> Salvador and Gala Dalí crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. After the move, Dalí returned to the practice of ]. "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes.<ref name="Descharnes (1993) p. 35.">Descharnes, Robert and Nicolas. ''Salvador Dalí''. New York: Konecky & Konecky, 1993. p. 35.</ref> | |||
In December 1936 Dalí participated in the ''Fantastic Art, Dada, Surrealism'' exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The painting '']'' (1936) attracted particular attention. Dalí later described it as, "a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of auto-strangulation".<ref>Gibson, Ian (1997). pp. 334, 364–67</ref> On 14 December, Dalí, aged 32, was featured on the cover of '']'' magazine.<ref name="Meisler" /> | |||
Dalí worked prolifically in a variety of media during this period, designing jewelry, clothes, furniture, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display for ], he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window.<ref name="Meisler" /> | |||
From 1933 Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice.<ref>Gibson, Ian (1997) pp. 306–308</ref> From 1936 Dalí's main patron in London was the wealthy ] who would support him financially for two years. One of Dalí's most important paintings from the period of James' patronage was '']'' (1937). They also collaborated on two of the most enduring icons of the Surrealist movement: the '']'' and the '']''.<ref>{{cite web|url=https://nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607|title=Salvador Dalí Lobster Telephone|date=August 1994|website=National Gallery of Australia|access-date=23 June 2017|archive-date=19 March 2017|archive-url=https://web.archive.org/web/20170319005929/http://nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607|url-status=live}}</ref> | |||
In 1941, Dalí drafted a film scenario for ] called ''Moontide''. In 1942, he published his autobiography, '']''. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943. Therein he attacked some often-used surrealist techniques by proclaiming, "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 '']'', depicting Dalí dressing an automobile in an evening gown.<ref name="Descharnes (1993) p. 35."/> | |||
Dalí was in London when the ] broke out in July 1936. When he later learned that his friend Lorca had been executed by ] forces, Dalí's claimed response was to shout: "Olé!" Dalí was to include frequent references to the poet in his art and writings for the remainder of his life.<ref>Gibson, Ian (1997), pp. 361–63</ref> Nevertheless, Dalí avoided taking a public stand for or against the ] for the duration of the conflict.<ref name=":4">Gibson, Ian (1997) pp. 376–77, and ''passim''</ref> | |||
In ''The Secret Life'', Dalí suggested that he had split with ] because the latter was a ] and an ]. Buñuel was fired (or resigned) from his position at the ] (MOMA), supposedly after ] of New York went to see ], head of the film department at MOMA. Buñuel then went back to Hollywood where he worked in the dubbing department of ] from 1942 to 1946. In his 1982 autobiography ''Mon Dernier soupir'' (''My Last Sigh'', 1983), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.<ref>Luis Buñuel, ''My Last Sigh: The Autobiography of Luis Buñuel'' (Vintage, 1984) ISBN 0-8166-4387-3</ref> | |||
In January 1938, Dalí unveiled '']'', a three-dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within the taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the '']'', organized by ] and ]. The Exposition was designed by artist ], who also served as host.<ref>{{cite web|url=http://www.salvador-dali.org/dali/en_biografia.html|title=Salvador Dalí's Biography – Gala|work=salvador-dali.org|publisher=Salvador Dalí Foundation|url-status=dead|archive-url=https://web.archive.org/web/20061106020704/http://www.salvador-dali.org/dali/en_biografia.html|archive-date=6 November 2006|access-date=14 February 2015}}</ref><ref>{{Cite book|last1=Herbert|first1=James D.|url=https://archive.org/details/paris1937worldso00herb|title=Paris 1937|publisher=Cornell University Press|year=1998|isbn=978-0-8014-3494-5|page=|access-date=14 February 2015|url-access=registration}}</ref><ref>{{Cite book|last1=Cohen-Solal|first1=Annie|url=https://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|title=Leo and His Circle|year=2010|publisher=Alfred A. Knopf |isbn=978-1-4000-4427-6|access-date=14 February 2015|archive-date=13 December 2013|archive-url=https://web.archive.org/web/20131213193246/http://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|url-status=live}}</ref> | |||
An Italian ], Gabriele Maria Berardi, claimed to have performed an ] on Dalí while he was in France in 1947.<ref name="exorcist-gift"> ''Catholic News'', October 14, 2005.</ref> 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,<ref name="exorcist-gift"/> and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.<ref name="exorcist-gift"/> | |||
In March that year, Dalí met ] thanks to ]. As Dalí sketched Freud's portrait, Freud whispered, "That boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.<ref name="Meisler" /> The following day Freud wrote to Zweig "...until now I have been inclined to regard the Surrealists, who have apparently adopted me as their patron saint, as complete fools.....That young Spaniard, with his candid fanatical eyes and his undeniable technical mastery, has changed my estimate. It would indeed be very interesting to investigate analytically how he came to create that picture ."<ref name="Rubin (1968) ">Rubin, William S. 1968. ''Dada and Surrealist Art.'' Harry N. Abrams, Inc., Publishers, New York. 525 pp.</ref> | |||
===Later years in Spain=== | |||
] | |||
In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades, he would spend most of his time there painting, taking time off and spending winters with his wife in Paris and New York.<ref name="Meisler" /><ref name="GalaGSDF" /> His acceptance and implicit embrace of ] were strongly disapproved of by other Spanish artists and intellectuals who remained in exile. | |||
In September 1938, Salvador Dalí was invited by ] to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York.<ref>''Salvador Dalí Exhibition'', Exhibition Catalogue – 16 February through 15 May 2005</ref><ref>{{cite web |url=http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm |title=Salvador Dalí Exhibition |work=] |archive-url=https://web.archive.org/web/20110707075359/http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm |archive-date=7 July 2011 |access-date=12 May 2014 |last=Fischer |first=John}}</ref> This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. ] reported that no exhibition in New York had been so popular since Whistler's ''Mother'' was shown in 1934.<ref>Gibson, Ian (1997) pp. 389–90</ref> | |||
In 1959, ] organized an exhibit called ''Homage to Surrealism'', celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, ], ], and ]. Breton vehemently fought against the inclusion of Dalí's ''Sistine Madonna'' in the International Surrealism Exhibition in New York the following year.<ref name=lopez>López, Ignacio Javier. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. '']'' 116 (2001): 295–314.</ref> | |||
At the ], Dalí debuted his ''Dream of Venus'' Surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, mermaids, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman.<ref name="DrmVns"/> Dalí was angered by changes to his designs, railing against mediocrities who thought that "a woman with the tail of a fish is possible; a woman with the head of a fish impossible."<ref>Gibson, Ian (1997), pp. 391–92</ref> | |||
Late in his career Dalí did not confine himself to painting, but explored many unusual or novel media and processes: for example, he experimented with ] artworks.<ref name=bp>. {{lang|fr|''Bonjour Paris''}}. Retrieved on August 22, 2006.</ref> Many of his late works incorporated ]s, ], ]s and ] visual effects. He also experimented with ], enlarged ] dot grids (a technique which ] would later use), and ] images.<ref name=Optical>{{cite book|last=Ades|first=ed. by Dawn|title=Dalí's optical illusions : |year=2000|publisher=Yale Univ. Press|location=New Haven CT|isbn=978-0300081770}}</ref> He was among the first artists to employ ] in an artistic manner.<ref name=holo>. ''Holophile''. Retrieved on August 22, 2006.</ref> In Dalí's later years, young artists such as ] proclaimed him an important influence on ].<ref name=warhol>. ''Carnegie Magazine''. Retrieved on August 22, 2006.</ref> | |||
Soon after ]'s victory in the Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism and praising Catholicism and the ]. As a result, Buñuel broke off relations with Dalí.<ref name=":5">Gibson, Ian (1997), p. 395</ref> | |||
Dalí also developed a keen interest in natural science and ]. This is manifested in several of his paintings, notably from the 1950s, in which he painted his subjects as composed of ] shapes. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a ]. He linked the rhinoceros to themes of ] and to the ].<ref>Elliott H. King in Dawn Ades (ed.), ''Dalí'', Bompiani Arte, Milan, 2004, p. 456.</ref> Dalí was also fascinated by ] and the ] (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting '']''. | |||
In the May issue of the Surrealist magazine ''Minotaure'', André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and that the over-refinement of his ] was a repudiation of Surrealist ] This led many Surrealists to break off relations with Dalí.<ref>Gibson, Ian (1997), pp. 387, 396–97</ref> In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí".<ref>Gibson, Ian (1997), p. 453</ref> This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. | |||
At some point, Dalí had a ] installed in a room near his studio. He made extensive use of it to study ], both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.<ref name=GlassFloor>{{cite book|last=Ades|first=ed. by Dawn|title=Dalí's optical illusions : |year=2000|publisher=Yale Univ. Press|location=New Haven CT|isbn=978-0300081770|pages=17–18}}</ref> He also delighted in using the room for entertaining guests and visitors to his house and studio. | |||
=== World War II === | |||
Dalí's post–World War II period bore the hallmarks of technical virtuosity and an intensifying interest in optical effects, science, and religion. He became an increasingly devout Catholic, while at the same time he had been inspired by the shock of ] and the dawning of the "]". Therefore, Dalí labeled this period "Nuclear ]". In paintings such as '']'' (first version, 1949) and ''Corpus Hypercubus'' (1954), Dalí sought to synthesize Christian ] with images of material disintegration inspired by ].<ref>. Retrieved July 22, 2006. {{Wayback | url=http://www.arton5th.com/Dali/bio.html <!-- Bot retrieved archive --> | date=20060504050531 }}</ref> His Nuclear Mysticism works included such notable pieces as '']'' (1965) and '']'' (1968–70). | |||
The outbreak of ] in September 1939 saw the Dalís in France. Following the German invasion, they were able to escape because on 20 June 1940 they were issued visas by ], Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the ''Excambion'' from Lisbon to New York in August 1940.<ref>{{cite web |url=http://sousamendesfoundation.org/dali/ |title= Dalí |archive-url=https://web.archive.org/web/20131102223907/http://sousamendesfoundation.org/dali/ |archive-date=2 November 2013 |work=Sousa Mendes Foundation |date=20 June 1940 |access-date=12 May 2014}}</ref> Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the ], California.<ref>{{cite web|url=http://www.montereycountyweekly.com/news/cover/a-world-class-salvador-dali-art-collection-comes-to-monterey/article_b1267eae-db3d-11e5-9e95-3f5ae7bc3619.html|title=A world-class Salvador Dalí art collection comes to Monterey.|last=Schmalz|first=David|website=Monterey County Weekly|date=25 February 2016 |access-date=6 June 2016|archive-date=26 August 2018|archive-url=https://web.archive.org/web/20180826071520/http://www.montereycountyweekly.com/news/cover/a-world-class-salvador-dali-art-collection-comes-to-monterey/article_b1267eae-db3d-11e5-9e95-3f5ae7bc3619.html|url-status=live}}</ref><ref name=":11">Gibson, Ian (1997), pp. 411–12</ref> | |||
Dalí spent the winter of 1940–41 at Hampton Manor, the residence of ], in Caroline County, Virginia, where he worked on various projects including his autobiography and paintings for his upcoming exhibition.<ref>{{cite web |url=http://www.virginialiving.com/%C2%A1hola,-dal%C3%AD!/ |title=¡Hola, Dalí! |last1=Crowder |first1=Bland |date=31 January 2014 |website=] |publisher=Cape Fear Publishing |access-date=27 June 2016 |archive-date=1 July 2016 |archive-url=https://web.archive.org/web/20160701234130/http://www.virginialiving.com/%C2%A1hola,-dal%C3%AD!/ |url-status=live }}</ref><ref>Gibson, Ian (1997), pp. 404–05</ref> | |||
In 1960, Dalí began work on his ] in his home town of ]; it was his largest single project and a main focus of his energy through 1974, when it opened. He continued to make additions through the mid-1980s.<ref name=Pitxot>{{cite book|last=Pitxot|first=Antoni|title=The Dalí Theatre-Museum|date=2007|publisher=Triangle Postals|location=Sant Lluís, Menorca|isbn=9788484782889|author2=Montse Aguer Teixidor |author3=photography, Jordi Puig |author4= translation, Steve Cedar }}</ref><ref name="FGSD">{{cite web|url=http://www.salvador-dali.org/museus/figueres/en_historia.html|title=Figueres: Teatre Museu Dalí - History|year=2010|publisher=Fundació Gala-Salvador Dalí|accessdate=20 June 2010}}</ref> | |||
Dalí announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April–May 1941. The exhibition included nineteen paintings (among them '']'' and '']'') and other works''.'' In his catalog essay and media comments, Dalí proclaimed a return to form, control, structure and the ]. Sales however were disappointing and the majority of critics did not believe there had been a major change in Dalí's work.<ref>Gibson, Ian (1997) pp. 409–11</ref> | |||
Dalí continued to indulge in ]s and self-consciously outrageous behavior. To promote his 1962 book ''The World of Salvador Dalí'', he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his ] and ]. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.<ref name="Meisler" /> | |||
On 2 September 1941, he hosted ''A Surrealistic Night in an Enchanted Forest'' in Monterey, a charity event which attracted national attention but raised little money for charity.<ref> | |||
In 1968, Dalí filmed a humorous television advertisement for ] chocolates.<ref name="Augustin"> Andreas Augustin, ehotelier.com, 2007</ref> In this, he proclaims in French "Je suis fou du chocolat Lanvin!" ("I'm crazy about Lanvin chocolate!") while biting a morsel, causing him to become ] and his moustache to swivel upwards. In 1969, he designed the ] logo, in addition to facilitating the design of the advertising campaign for the ] and creating a large on-stage metal sculpture that stood at the ] in Madrid. | |||
{{cite web |author=Neal Hotelling |date=26 August 2022 |title=Call the sheriff, Dali's been robbed |url=http://pineconearchive.fileburstcdn.com/220826PC.pdf |archive-url=https://ghostarchive.org/archive/20221009/http://pineconearchive.fileburstcdn.com/220826PC.pdf |archive-date=9 October 2022 |url-status=live |access-date=26 August 2022 |work=] |page=23 |place=Carmel-by-the-Sea, California}}</ref><ref name=":11" /> | |||
The Museum of Modern Art held two major, simultaneous retrospectives of Dalí<ref name="Soby (1941)">Soby, James Thrall. 1941. ''Salvador Dali: Paintings, Drawings, Prints.'' The Museum of Modern Art, New York. 87 pp.</ref> and ]<ref name="Sweeney (1941)">Sweeney, James Johnson. 1941. ''Joan Miro.'' The Museum of Modern Art, New York. 87 pp.</ref> from November 1941 to February 1942, Dalí being represented by forty-two paintings and sixteen drawings. Dalí's work attracted significant attention of critics and the exhibition later toured eight American cities, enhancing his reputation in America.<ref>Gibson, Ian (1997), pp. 413–16</ref> | |||
In the television programme ''Dirty Dalí: A Private View'' broadcast on ] on June 3, 2007, art critic ] 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.<ref>{{cite web|url=http://living.scotsman.com/index.cfm?id=869862007 |title=Scotsman review of Dirty Dalí |work=The Scotsman |location=UK |accessdate=August 22, 2010}}</ref><ref> By Brian Sewell, thisislondon.co.uk</ref> | |||
In October 1942, Dalí's autobiography, '']'' was published simultaneously in New York and London and was reviewed widely by the press. Time magazine's reviewer called it "one of the most irresistible books of the year". George Orwell later wrote a scathing review in the ''Saturday Book''.<ref>Gibson, Ian (1997), pp. 416–20.</ref><ref name=orwell>Orwell, George {{Webarchive|url=https://web.archive.org/web/20160421185848/http://theorwellprize.co.uk/george-orwell/by-orwell/essays-and-other-works/benefit-of-clergy-some-notes-on-salvador-dali/ |date=21 April 2016 }}. theorwellprize.co.uk. Retrieved 24 February 2012.</ref> A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible for the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel resigning his position at MoMA in 1943 under pressure from the State Department.<ref>Luis Buñuel, ''My Last Sigh: The Autobiography of Luis Buñuel'' (Vintage, 1984) {{ISBN|0-8166-4387-3}}</ref><ref>Gibson, Ian (1997) p. 419</ref> Dalí also published a novel ''Hidden Faces'' in 1944 with less critical and commercial success.<ref name=":10">Gibson, Ian (1997) pp. 424–30</ref> | |||
===Final years and death=== | |||
], site of Dalí's baptism, first communion, and funeral]] | |||
] in ] displays his name and preferred title]] | |||
In 1968, Dalí had bought a ] for Gala; and starting in 1971 she would retreat there alone for weeks at a time. By Dalí's own admission, he had agreed not to go there without written permission from his wife.<ref name="GalaGSDF" /> His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.<ref name="Meisler" /> | |||
In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943 Dalí continued his attack on the Surrealist movement, writing: "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 ]]".<ref name="Descharnes (1993) p. 35.">Descharnes, Robert and Nicolas. ''Salvador Dalí''. New York: Konecky & Konecky, 1993. p. 35.</ref> The critical response to the society portraits in the exhibition, however, was generally negative.<ref>Gibson, Ian (1997) p. 423</ref> | |||
In 1980 at age 76, Dalí's health took a catastrophic turn. His right hand trembled terribly, with ] symptoms. His near-] wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity.<ref>Ian Gibson (1997). ''The Shameful Life of Salvador Dalí''. W. W. Norton & Company.</ref> | |||
In November–December 1945 Dalí exhibited new work at the ] in New York. The exhibition included eleven oil paintings, watercolors, drawings, and illustrations. Works included '']'', ''Atomic and Uranian Melancholic Ideal'', and ''My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae of a Column, Sky and Architecture''. The exhibition was notable for works in Dalí's new classicism style and those heralding his "atomic period".<ref>Gibson, (Ian) (1997), pp. 434–36</ref> | |||
In 1982, ] bestowed on Dalí the title of ''Marqués de Dalí de Púbol''<ref name="Marquis title"> – Website Heráldica y Genealogía Hispana</ref><ref> – Boletín Oficial del Estado, the official gazette of the Spanish government</ref> (''Marquis of Dalí de Púbol'') in the ], hereby referring to ], the place where he lived. The title was in first instance hereditary, but on request of Dalí changed to life only in 1983.<ref name="Marquis title" /> | |||
During the war years, Dalí was also engaged in projects in various other fields. He executed designs for a number of ballets including ''Labyrinth'' (1942), ''Sentimental Colloquy'', ''Mad Tristan'', and ''The Cafe of Chinitas'' (all 1944).<ref name=":1">Gibson, Ian (1997), pp. 431–43</ref> In 1945 he created the dream sequence for Alfred Hitchcock's film ''Spellbound''.<ref name=":2">Gibson, Ian (1997) pp. 434–45</ref> He also produced artwork and designs for products such as perfumes, cosmetics, hosiery and ties.<ref>Gibson, Ian (1997) pp. 430–31</ref> | |||
Gala died on 10 June 1982, at the age of 87. After Gala's death, Dalí lost much of his will to live. He deliberately ] himself, possibly as a ] attempt, with claims stating he had tried to put himself into a state of ] as he had read that some ]s could do. He moved from Figueres to the castle in Púbol, which was the site of her death and her grave.<ref name="Meisler" /><ref name="GalaGSDF" /> | |||
=== Postwar in United States (1946–48) === | |||
In May 1983, Dalí revealed what would be his last painting, '']'', a work heavily influenced by the mathematical ] of ]. | |||
In 1946, Dalí worked with Walt Disney and animator John Hench on an unfinished animated film '']''.<ref name=":3">Gibson, Ian (1997) pp. 436–38</ref> | |||
Dalí exhibited new work at the Bignou Gallery from November 1947 to January 1948. The 14 oil paintings and other works in the exhibition reflected Dalí's increasing interest in atomic physics. Notable works included ''Dematerialization Near the Nose of Nero (The Separation of the Atom)'', ''Intra-Atomic Equilibrium of a Swan's Feather'', and a study for '']''. The proportions of the latter work were worked out in collaboration with a mathematician.<ref>Gibson, Ian (1997) pp. 440–42</ref> | |||
In 1984, a fire broke out in his bedroom<ref>. '']''. September 1, 1984. Retrieved July 22, 2006.</ref> under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff.<ref name=olga /> Dalí was rescued by friend and collaborator ]<ref> {{fr icon}}</ref> and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his ] in his final years. | |||
In early 1948, Dalí's ''50 Secrets of Magic Craftsmanship'' was published. The book was a mixture of anecdotes, practical advice on painting, and Dalínian polemics.<ref>Gibson, Ian (1997) pp. 442–44</ref> | |||
There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals.<ref name="scandal">{{cite book | title=The Dalí Scandal: An Investigation | author=Mark Rogerson | isbn=0-575-03786-5 | publisher=Victor Gollancz | year=1989}}</ref> It is also alleged that he knowingly sold otherwise-blank signed lithograph paper, possibly producing over 50,000 such sheets from 1965 until his death.<ref name="Meisler" /> As a result, art dealers tend to be wary of late works attributed to Dalí.{{Citation needed|date=August 2009}} | |||
=== Later years in Spain === | |||
In November 1988, Dalí entered the hospital with ]; a ] had been implanted previously. On December 5, 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.<ref>], p. 411, 1995 Da Capo Press, ISBN 0-306-80662-2</ref> Dalí gave the king a drawing (''Head of Europa'', which would turn out to be Dalí's final drawing) after the king visited him on his deathbed. | |||
In 1948, Dalí and Gala moved back into their house in Port Lligat, on the coast near ]. For the next three decades, they would spend most of their time there, spending winters in Paris and New York.<ref name="Meisler" /><ref name="GalaGSDF" /> Dalí's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life.<ref>Gibson, Ian (1997) p. 470</ref> In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's ''Sistine Madonna'' in the ''Surrealist Intrusion in the Enchanter's Domain'' exhibition organized by Marcel Duchamp in New York.<ref name="lopez">{{Interlanguage link multi|Ignacio Javier López|es|Ignacio Javier López}}. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. '']'' 116 (2001): 295–314.</ref> Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".<ref>Gibson, Ian (1997) pp. 497–98</ref> | |||
In December 1949 Dalí's sister Anna Maria published her book ''Salvador Dalí Seen by his Sister''. Dalí was angered by passages that he considered derogatory towards his wife Gala and broke off relations with his family. When Dalí's father died in September 1950 Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.<ref>Gibson, Ian (1997), pp. 454–61</ref> | |||
On the morning of 23 January 1989, while his favorite record of '']'' played, Dalí died of heart failure at Figueres at the age of 84. He is buried in the ] below the stage of his ] in Figueres. The location is across the street from the church of ''Sant Pere'', where he had his ], ], and ], and is only three blocks from the house where he was born.<ref>], pp. xxiv, 411–412, 1995 Da Capo Press, ISBN 0-306-80662-2</ref> | |||
]]] | |||
] currently serves as his official estate.<ref>http://www.salvador-dali.org/en_index.html | The Gala-Salvador Dalí Foundation website</ref> The US ] representative for the Gala-Salvador Dalí Foundation is the ].<ref>http://arsny.com/requested.html | Most frequently requested artists list of the Artists Rights Society</ref> In 2002, the Society made news when it asked ] to remove a customized version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under its protection had been used without permission. Google complied with the request, but denied that there was any copyright violation.{{Citation needed|date=August 2009}} | |||
As Dalí moved further towards embracing ] he introduced more religious iconography and themes in his painting. In 1949 he painted a study for '']'' (first version, 1949) and showed it to ] during an audience arranged to discuss Dalí 's marriage to Gala.<ref>Gibson, Ian (1997) pp. 450–53</ref> This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism", a fusion of Einsteinian physics, classicism, and Catholic mysticism. In paintings such as '']'', '']'' and '']'', Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.<ref>{{cite web|url=http://www.arton5th.com/Dali/bio.html|title=Salvador Dalí Bio, Art on 5th|archive-url=https://web.archive.org/web/20060504050531/http://www.arton5th.com/Dali/bio.html|archive-date=4 May 2006|access-date=22 July 2006}}</ref><ref>Gibson, Ian (1997) pp. 461–63</ref> His later Nuclear Mysticism works included '']'' (1965) and '']'' (1968–70). | |||
==Symbolism== | |||
Dalí employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in ''The Persistence of Memory'' suggest ]'s theory that ] and not fixed.<ref name=Conquete /> The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of ] on a hot August day.<ref>Salvador Dalí, ''The Secret Life of Salvador Dalí'' (New York: Dial Press, 1942), p. 317.</ref> | |||
Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and ] shapes in works from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral.<ref name=":6">Elliott H. King in ] (ed.), ''Dalí'', Bompiani Arte, Milan, 2004, p. 456.</ref> Dalí was also fascinated by the ] (a four-dimensional cube), using it, for example, in '']''. | |||
The ] is also a recurring image in Dalí's works. It appeared in his 1944 work '']''. The elephants, inspired by ]'s sculpture ] in Rome of an ],<ref>Michael Taylor in Dawn Ades (ed.), ''Dalí'' (Milan: Bompiani, 2004), p. 342</ref> are portrayed "with long, multijointed, almost invisible legs of desire"<ref name=countycollection>. ''County Hall Gallery''. Retrieved on July 28, 2006.</ref> 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."<ref name=countycollection /> "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''. | |||
Dalí had been extensively using optical illusions such as double images, ], ], ]s and '']'' since his Surrealist period and this continued in his later work. At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.<ref name="AdesOptical" />{{rp|17–18, 172}} He also experimented with the ] technique<ref name="bp">{{cite web|url=http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/|title=The Phantasmagoric Universe – Espace Dalí À Montmartre|work=Bonjour Paris|language=fr|archive-url=https://web.archive.org/web/20060528084739/http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/|archive-date=28 May 2006|url-status=dead|access-date=22 August 2006}}</ref> ], enlarged ] dot grids and stereoscopic images.<ref name="AdesOptical">{{cite book|editor-last=Ades|editor-first=Dawn|title=Dalí's optical illusions : |year=2000|publisher=Yale Univ. Press|location=New Haven, Connecticut|isbn=978-0-300-08177-0}}</ref> He was among the first artists to employ ] in an artistic manner.<ref name="holo"> {{Webarchive|url=https://web.archive.org/web/20110712214057/http://www.holophile.com/history.htm |date=12 July 2011 }}. ''Holophile''. Retrieved on 22 August 2006.</ref> In Dalí's later years, young artists such as ] proclaimed him an important influence on ].<ref name="warhol">{{cite web |url=http://www.carnegiemuseums.org/cmag/bk_issue/1998/mayjun/feat2.htm |title=Hello, Dalí |archive-url=https://web.archive.org/web/20060927105155/http://www.carnegiemuseums.org/cmag/bk_issue/1998/mayjun/feat2.htm |archive-date=27 September 2006 |work=Carnegie Magazine |access-date=22 August 2006}}</ref> | |||
The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;<ref name=symb>. ''County Hall Gallery''. Retrieved on July 28, 2006</ref> it appears in '']'' and '']''. ''The Metamorphosis of Narcissus'' also symbolized death and ]. | |||
In 1960, Dalí began work on his ] in his home town of ]. It was his largest single project and a main focus of his energy through to 1974, when it opened. He continued to make additions through the mid-1980s.<ref name="Pitxot">{{cite book|last=Pitxot|first=Antoni | author-link = Antoni Pitxot|title=The Dalí Theatre-Museum|date=2007|publisher=Triangle Postals|location=Sant Lluís, Menorca|isbn=978-84-8478-288-9|author2=Montse Aguer Teixidor |author3=photography, Jordi Puig |author4= translation, Steve Cedar }}</ref><ref name="FGSD">{{cite web|url=http://www.salvador-dali.org/museus/figueres/en_historia.html|title=Figueres: Teatre Museu Dalí – History|year=2010|publisher=Fundació Gala-Salvador Dalí|access-date=20 June 2010|archive-date=3 April 2014|archive-url=https://web.archive.org/web/20140403010843/http://www.salvador-dali.org/museus/figueres/en_historia.html|url-status=live}}</ref> | |||
Various other animals appear throughout his work as well: ]s point to death, decay, and immense sexual desire; the ] is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met ]); and ]s are a symbol of waste and fear.<ref name=symb /> | |||
In 1955, Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse, and model.<ref>Gibson, Ian (1997) pp. 483–97</ref> At a French nightclub in 1965 Dalí met ], a fashion model then known as Peki Oslo. Lear became his protégée and one of his muses. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.<ref name="Prose">Prose, Francine. (2000) '' {{Webarchive|url=https://web.archive.org/web/20160418233621/https://books.google.com/books?id=0rJ2EPVYbFUC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=18 April 2016 }}''. Harper Perennial. {{ISBN|0-06-055525-4}}.</ref><ref name="Lear">Lear, Amanda. (1986) ''My Life with Dalí''. Beaufort Books. {{ISBN|0-8253-0373-7}}.</ref> | |||
Both Dalí and his father enjoyed eating ]s, freshly caught in the sea near Cadaqués. The symmetry of the sea urchin fascinated Dalí and adapted its form to many art works and other foods also appear throughout his work.<ref>{{cite web|url=http://www.ngv.vic.gov.au/dali/salvador/food.html|title=Salvador Dali: Liquid Desire|work=ngv.vic.gov.au|accessdate=February 14, 2015}}</ref> | |||
=== |
=== Final years and death === | ||
], 1972]] | |||
References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of ] in the twentieth century. Inspired by ]'s ], 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 ]. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."<ref name=triangle>. ''The Triangle Online''. Retrieved August 8, 2006.</ref> | |||
], site of Dalí's baptism, first communion, and funeral]] | |||
] in ] displays his name and title.]] | |||
In 1968, Dalí bought a castle in Púbol for Gala, and from 1971 she would retreat there for weeks at a time, Dalí having agreed not to visit without her written permission.<ref name="GalaGSDF" /> His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.<ref name="Meisler" /> | |||
In this respect, '']'', which appeared in 1954, in harking back to ''The Persistence of Memory'' and in portraying that painting in fragmentation and disintegration, summarizes Dalí's acknowledgment of the new science.<ref name=triangle /> | |||
In 1980, at age 76, Dalí's health deteriorated sharply and he was treated for depression, drug addiction, and Parkinson-like symptoms, including a severe tremor in his right arm. There were also allegations that Gala had been supplying Dalí with pharmaceuticals from her own prescriptions.<ref>Gibson, Ian (1997) pp. 574–79</ref> | |||
==Endeavors outside painting== | |||
Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas. | |||
Gala died on 10 June 1982, at the age of 87. After her death, Dalí moved from Figueres to the castle in Púbol, where she was entombed.<ref name="Meisler" /><ref name="GalaGSDF" /><ref>Gibson, Ian (1997) pp. 589–91</ref> | |||
===Sculptures and other objects=== | |||
], ]. Dalí's homage to ], with an open torso and suspended heart to indicate "open-heartedness," and an open head indicating "open-mindedness"—the two very qualities important for science discovery and successful human endeavors]] | |||
Two of the most popular objects of the surrealist movement were '']'' and '']'', completed by Dalí in 1936 and 1937, respectively. Surrealist artist and patron ] commissioned both of these pieces from Dalí; James inherited a large English estate in ], West Sussex when he was five and was one of the foremost supporters of the surrealists in the 1930s.<ref name=natgalaust>. ''National Gallery of Australia''. Retrieved on August 4, 2006.</ref> "Lobsters and telephones had strong sexual connotations for ", according to the display caption for the ''Lobster Telephone'' at the ], "and he drew a close analogy between food and sex."<ref name=tate>. ''Tate Online''. Retrieved on August 4, 2006.</ref> 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 ]; the third belongs to the Edward James Foundation; and the fourth is at the ].<ref name=natgalaust /> | |||
In 1982, ] bestowed on Dalí the title of ''Marqués de Dalí de Púbol''<ref name="Marquess title"> {{Webarchive|url=https://web.archive.org/web/20120105053225/http://www.heraldaria.com/phorum/read.php?f=1&i=25695&t=25695 |date=5 January 2012 }} – Website Heráldica y Genealogía Hispana</ref><ref name=":7"> {{Webarchive|url=https://archive.today/20120630120254/http://www.boe.es/aeboe/consultas/bases_datos/doc.php?id=BOE-A-1989-4234 |date=30 June 2012 }} – Boletín Oficial del Estado, the official gazette of the Spanish government</ref> (''Marquess of Dalí of Púbol'') in the nobility of Spain, ] being where Dalí then lived. The title was initially hereditary, but at Dalí's request was changed to life-only in 1983.<ref name="Marquess title" /> | |||
The wood and satin ''Mae West Lips Sofa'' was shaped after the lips of actress ], whom Dalí apparently found fascinating.<ref name=unbound /> West was previously the subject of Dalí's 1935 painting ''The Face of Mae West''. The ''Mae West Lips Sofa'' currently resides at the Brighton and Hove Museum in England. | |||
In May 1983, what was said to be Dalí's last painting, '']'', was revealed. The work was heavily influenced by the mathematical ] of ]. However, some critics have questioned how Dalí could have executed a painting with such precision given the severe tremor in his painting arm.<ref>Gibson, Ian (1997) pp. 603–604</ref> | |||
Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry; many pieces are intricate, and some contain moving parts. The most famous assemblage, ''The Royal Heart'', is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, 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."<ref>Owen Cheatham Foundation. ''Dali, a study of his art-in-jewels: the collection of the Owen Cheatham Foundation''. New York: New York Graphic Society. 1959. p. 14.</ref> 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. | |||
From early 1984 Dalí's depression worsened and he refused food, leading to severe undernourishment.<ref>Gibson, Ian (1997) pp. 602, 610</ref> Dalí had previously stated his intention to put himself into a state of suspended animation as he had read that some microorganisms could do.<ref>{{cite web|url=http://www.all-art.org/art_20th_century/dali-6-12.html|title=Salvador Dalí – Paths to Immortality|website=History of Art|access-date=23 June 2017|archive-date=31 July 2017|archive-url=https://web.archive.org/web/20170731220713/http://www.all-art.org/art_20th_century/dali-6-12.html|url-status=live}}</ref> In August 1984 a fire broke out in Dalí's bedroom and he was hospitalized with severe burns. Two judicial inquiries found that the fire was caused by an electrical fault and no findings of negligence were made.<ref>Gibson, Ian (1997) pp. 604–10</ref> After his release from hospital Dalí moved to the Torre Galatea, an annex to the Dalí Theatre-Museum.<ref>Gibson, Ian (1997) p. 610</ref> | |||
Dalí took a stab at ] in the 1970s with a 500-piece run of the upscale "Suomi" tableware by ] that Dalí decorated for the German Rosenthal ] maker's "Studio Linie".<ref>{{cite journal | title = Faenza-Goldmedaille für SUOMI | journal=Artis | year = 1976 | last = | volume = 29 | page = 8| issn = 0004-3842}}</ref> | |||
There have been allegations that Dalí was forced by his guardians to sign blank canvases that could later be used in forgeries.<ref name="scandal">{{cite book | title=The Dalí Scandal: An Investigation | author=Mark Rogerson | isbn=978-0-575-03786-1 | publisher=Victor Gollancz | year=1989 | url=https://archive.org/details/daliscandalinv00roge }}</ref> It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death.<ref name="Meisler" /> As a result, art dealers tend to be wary of late graphic works attributed to Dalí.<ref name="Forde_170"/> | |||
] | |||
In July 1986, Dalí had a pacemaker implanted. On his return to his Theatre-Museum he made a brief public appearance, saying: | |||
===Theatre and film=== | |||
In theatre, Dalí constructed the scenery for ]'s 1927 romantic play '']''.<ref>{{cite web |url=http://www.kirjasto.sci.fi/fglorca.htm |title=Federico García Lorca |website=Books and Writers ''(kirjasto.sci.fi)'' |first=Petri |last=Liukkonen |publisher=] Public Library |location=Finland |archiveurl=https://web.archive.org/web/20150210175324/http://www.kirjasto.sci.fi/fglorca.htm |archivedate=10 February 2015 |dead-url=yes}}</ref> For '']'' (1939), a ballet based on and set to the music of ]'s 1845 opera '']'', Dalí provided both the set design and the ].<ref name=designws>. ''Paris Contemporary Designs''. Retrieved on August 8, 2006.</ref> ''Bacchanale'' was followed by set designs for ''Labyrinth'' in 1941 and '']'' in 1949.<ref>. ''Haggerty Museum of Art''. Retrieved August 8, 2006.</ref> | |||
{{blockquote|When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.<ref>{{cite web| url = https://somatemps.me/2017/03/26/video-ultima-entrevista-a-dali-viva-el-rey-viva-espana-viva-cataluna/| title = Somatemps Catalanitat és Hispanitat, ''Última entrevista a Dalí: "¡Viva el Rey, viva España, viva Cataluña!"'' (video), published 26 March 2017| date = 26 March 2017| access-date = 22 July 2017| archive-date = 9 July 2017| archive-url = https://web.archive.org/web/20170709151952/https://somatemps.me/2017/03/26/video-ultima-entrevista-a-dali-viva-el-rey-viva-espana-viva-cataluna/| url-status = live}}</ref><ref>{{cite news| url = https://elpais.com/diario/1986/07/17/cultura/521935202_850215.html| title = El País, ''Dalí vuelve a casa'', 17 July 1986| newspaper = El País| date = 16 July 1986| access-date = 22 July 2017| archive-date = 14 September 2017| archive-url = https://web.archive.org/web/20170914172118/https://elpais.com/diario/1986/07/17/cultura/521935202_850215.html| url-status = live| language=es}}</ref>}} | |||
Dalí became intensely interested in film when he was young, going to the theatre most Sundays. 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.<ref>"Dali & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.</ref> Dalí was active in front of and behind the scenes in the film world. | |||
In November 1988, Dalí entered hospital with heart failure. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.<ref>], {{Webarchive|url=https://web.archive.org/web/20160419054622/https://books.google.com/books?id=soncxLrkYX0C&dq |date=19 April 2016 }} p. 411, 1995 Da Capo Press, {{ISBN|0-306-80662-2}}</ref> Dalí gave the king a drawing, ''Head of Europa'', which would turn out to be Dalí's final drawing. | |||
He is credited as co-creator of ]'s surrealist film '']'', a 17-minute French art film co-written 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 '']'', 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 shown".<ref> Harvard Film Archive. 2006. April 10, 2008.</ref> | |||
On the morning of 23 January 1989, Dalí died of cardiac arrest at the age of 84.<ref name="Artner">{{cite news |last1=Artner |first1=Alan G. |title=Surrealist painter Salvador Dali, flamboyant art revolutionary |url=https://www.proquest.com/docview/1015353001 |access-date=9 May 2022 |work=Chicago Tribune |date=24 January 1989 |page=9|id={{ProQuest|1015353001}} }}</ref> He is buried in the crypt below the stage of his ] in Figueres. The location is across the street from the church of ''Sant Pere'', where he had his baptism, first communion, and funeral, and is only {{convert|450|m|ft}} from the house where he was born.<ref>], {{Dead link|date=January 2023 |bot=InternetArchiveBot |fix-attempted=yes }}, pp. xxiv, 411–12, 1995, Da Capo Press, {{ISBN|0-306-80662-2}}</ref> | |||
Although negative aspects of society were being thrown into the life of Dalí which affected the commercial 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".<ref>Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.</ref> | |||
==== Exhumation ==== | |||
Dalí worked with other famous filmmakers, such as ]. The most well-known of his film projects is probably the ] in Hitchcock's '']'', which heavily delves into themes of ]. Hitchcock needed a dreamlike quality to his film, which dealt with the idea that a repressed experience can directly trigger a ], 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. | |||
On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dalí's body in order to obtain samples for a paternity suit.<ref>{{Cite news |title=La exhumación del cuerpo de Salvador Dalí se inicia hoy a partir de las 20 horas |url=http://www.marca.com/tiramillas/actualidad/2017/07/20/59706333ca474183398b4636.html |date=20 July 2017 |access-date=20 July 2017 |newspaper=] |language=es |archive-date=20 July 2017 |archive-url=https://web.archive.org/web/20170720151240/http://www.marca.com/tiramillas/actualidad/2017/07/20/59706333ca474183398b4636.html |url-status=live }}</ref> Joan Manuel Sevillano, manager of the ''Fundación Gala Salvador Dalí'' (The Gala-Salvador Dalí Foundation), denounced the exhumation as inappropriate.<ref>{{Cite news|last=Grael|first=Vanessa|url=http://www.elmundo.es/catalunya/2017/07/21/5971a29b22601d47788b45e0.html|title=La fundación Gala Salvador Dalí carga contra la exhumación del pintor: "Queremos una compensación patrimonial"|date=21 July 2017|newspaper=]|access-date=21 July 2017|location=Figueres|language=es}}{{Dead link|date=March 2022 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> The exhumation took place on the evening of 20 July, and his DNA was extracted.<ref>{{Cite news |author=Redacción |title=Muelas, uñas y huesos: las pruebas que demostrarán la supuesta paternidad de Dalí |url=http://www.lavanguardia.com/cultura/20170720/424249280386/exhumacion-paternidad-salvador-dali-hija.html |date=20 July 2017 |access-date=20 July 2017 |newspaper=] |language=es |archive-date=20 July 2017 |archive-url=https://web.archive.org/web/20170720022816/http://www.lavanguardia.com/cultura/20170720/424249280386/exhumacion-paternidad-salvador-dali-hija.html |url-status=live }}</ref> On 6 September 2017 the Foundation stated that the tests carried out proved conclusively that Dalí and the claimant were not related.<ref> {{Webarchive|url=https://web.archive.org/web/20180616172344/https://www.bbc.com/news/world-europe-41180146 |date=16 June 2018 }}, BBC News.</ref><ref name="Josep">{{Cite news |last=Josep |first=Fita |title=El bigote de Dalí sigue intacto, marcando las 10 y 10, es un milagro |url=http://www.lavanguardia.com/cultura/20170721/424276137999/salvador-dali-pelo-unas-dos-huesos-largos-exhumación.html |date=21 July 2017 |access-date=21 July 2017 |newspaper=] |location=Barcelona |language=es |archive-date=10 November 2021 |archive-url=https://web.archive.org/web/20211110213611/https://www.lavanguardia.com/cultura/20170721/424276137999/salvador-dali-pelo-unas-dos-huesos-largos-exhumaci%C3%B3n.html |url-status=live }}</ref> On 18 May 2020 a Spanish court dismissed an appeal from the claimant and ordered her to pay the costs of the exhumation.<ref>{{Cite web|title=Court dismisses appeal from woman claiming to be Salvador Daíi's daughter|url=https://www.theguardian.com/artanddesign/2020/may/19/court-dismisses-appeal-from-woman-claiming-to-be-salvador-dalis-daughter|date=19 May 2020|website=The Guardian|access-date=20 May 2020|archive-date=20 May 2020|archive-url=https://web.archive.org/web/20200520003654/https://www.theguardian.com/artanddesign/2020/may/19/court-dismisses-appeal-from-woman-claiming-to-be-salvador-dalis-daughter|url-status=live}}</ref> | |||
== Symbolism == | |||
Dalí also worked with ] on the short film production '']''. Completed in 2003 by Baker Bloodworth and Walt's nephew ], it contains dreamlike images of strange figures flying and walking about. It is based on Mexican songwriter Armando Dominguez' song "Destino". When Disney hired Dalí to help produce the film in 1946, they were not prepared for the quantity of work that lay ahead. For eight months, they worked on it continuously, until their efforts had to stop when they realized they were in financial trouble. However, it was eventually finished 48 years later, and shown in various film festivals. The film consists of Dalí's artwork interacting with Disney's character animation. | |||
From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or ] interpretation (Dalí read ] in the 1920s) others (such as ]s, rotting ]s, and ]s) are idiosyncratic and have been variously interpreted.<ref>Gibson, Ian (1997) pp. 207–08</ref> Some commentators have cautioned that Dalí's own comments on these images are not always reliable.<ref>Gibson, Ian (1997), p. 478</ref> | |||
=== Food === | |||
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 ]. The imagery was based on microscopic ] stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.<ref>Elliott H. King, , Kamera Books 2007, p. 169.</ref> | |||
Food and eating have a central place in Dalí's thoughts and work. He associated food with beauty and sex and was obsessed with the image of the female ] eating her mate after copulation.<ref>Gibson, Ian (1997), p. 312</ref> Bread was a recurring image in Dalí's art, from his early work '']'' to later public performances such as in 1958 when he gave a lecture in Paris using a 12-meter-long ] an illustrative prop.<ref>{{Cite web|url=https://ivc.lib.rochester.edu/breaking-dalinian-bread-on-consuming-the-anthropomorphic-performative-ferocious-and-eucharistic-loaves-of-salvador-dali/|title=Breaking Dalinian Bread|last=Pine|first=Julia|date=1 January 2010|website=InVisible Culture|access-date=3 April 2020|archive-date=30 July 2020|archive-url=https://web.archive.org/web/20200730163221/https://ivc.lib.rochester.edu/breaking-dalinian-bread-on-consuming-the-anthropomorphic-performative-ferocious-and-eucharistic-loaves-of-salvador-dali/|url-status=live}}</ref> He saw bread as "the elementary basis of continuity" and "sacred subsistence".<ref>{{Cite book|last=Dalí|first=Salvador|title=The Secret Life of Salvador Dalí|publisher=Dover Publications|year=1993|isbn=978-0-486-27454-6|location=New York|page=306}}</ref> | |||
The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love.<ref name="symb">{{cite web|url=http://www.countyhallgallery.com/education/dali_symbols.htm|title=Salvador Dalí's symbolism|work=County Hall Gallery|archive-url=https://web.archive.org/web/20061202083808/http://www.countyhallgallery.com/education/dali_symbols.htm|archive-date=2 December 2006|access-date=28 July 2006}}</ref> It appears in '']'', '']'' and many other works. There are also giant sculptures of eggs in various locations at Dalí's house in ]<ref>{{cite book|last1=Stone|first1=Peter|url=https://books.google.com/books?id=v8ehi--t7EYC&q=portlligat+house+dali+eggs&pg=PA284|title=Frommer's Barcelona|date=7 May 2007|publisher=Wiley Publishing Inc.|isbn=978-0-470-09692-5|edition=2nd|page=284|access-date=23 March 2017|archive-date=10 December 2021|archive-url=https://web.archive.org/web/20211210185332/https://books.google.com/books?id=v8ehi--t7EYC&q=portlligat+house+dali+eggs&pg=PA284|url-status=live}}</ref> as well as at the Dalí Theatre-Museum in Figueres. | |||
In the mid-1970s, film director ] cast Dali in the role of the Padishah Emperor in a production of ], based on the novel by ]. According to the 2013 documentary on the film, '']'', Jodorowsky met Dali in the King Cole Bar in the St. Regis hotel in Manhattan to discuss the role. Dali expressed interest in the film but required as a condition of appearing that he be made the highest paid actor in Hollywood. Jodorowsky accordingly cast Dali as the emperor, but he planned to cut Dali's screen time to mere minutes, promising he be the highest-paid actor on a per minute basis. The film was ultimately never made.<ref>{{cite web|url=http://jodorowskysdune.com/synopsis.html|title=Jodorowsky's Dune - Official Website of the Documentary - Synopsis|work=jodorowskysdune.com|accessdate=February 14, 2015}}</ref> | |||
The radial symmetry of the sea urchin intrigued Dalí. He had enjoyed eating them with his father at Cadaqués and, along with other foods, they became a recurring theme in his work.<ref>{{cite web|url=http://www.ngv.vic.gov.au/dali/salvador/food.html|title=Salvador Dalí: Liquid Desire|work=ngv.vic.gov.au|access-date=14 February 2015|archive-date=24 March 2015|archive-url=https://web.archive.org/web/20150324231014/http://www.ngv.vic.gov.au/dali/salvador/food.html|url-status=live}}</ref> | |||
In the year 1927, Dali began to write the libretto for an opera, which he called '']'' (). He wrote this together with Federico Garcia Lorca one afternoon in the Café Regina Victoria in Madrid. In 1974, for a recording in Paris, the opera was adapted by the Spanish writer Manuel Vazquez Montalban, who wrote the libretto, while the music was created by Igor Wakhevitch. During the recording, however, Dali refused to follow the text written by Montalban, and instead, began to improvise in the belief that “Salvador Dali never repeats himself.” | |||
The famous "melting watches" that appear in ''The Persistence of Memory'' suggest ]'s theory that time is relative and not fixed.<ref name="Conquete" /> Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating ] cheese.<ref>Salvador Dalí, ''The Secret Life of Salvador Dalí'' (New York: Dial Press, 1942), p. 317.</ref> | |||
===Fashion and photography=== | |||
] (1948), shown before support wires were removed from the image]] | |||
Dalí built a repertoire in the ] and ] businesses as well. His cooperation with Italian fashion designer ] was well-known, when Dalí was commissioned 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. In 1950, Dalí created a special "costume for the year 2045" with ].<ref name=designws /> | |||
=== Animals === | |||
Photographers with whom he collaborated include ], ], ], and ]. 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."<ref name=designws /> | |||
The ] and rhinoceros horn shapes began to proliferate in Dalí's work from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a ]. He linked the rhinoceros to themes of chastity and to the ].<ref name=":6" /> However, he also used it as an obvious phallic symbol as in ''].''<ref name=":0">Gibson, Ian (1997) p. 478</ref> | |||
Various other animals appear throughout Dalí's work: rotting donkeys and ants have been interpreted as pointing to death, decay, and sexual desire; the ] as connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met him); and locusts as a symbol of waste and fear.<ref name="symb" /> The elephant is also a recurring image in his work; for example, '']''. The elephants are inspired by ]'s sculpture base in Rome of an ].<ref>Michael Taylor in ] (ed.), ''Dalí'' (Milan: Bompiani, 2004), p. 342</ref> | |||
One of Dalí's most unorthodox artistic creations may have been an entire ], in addition to his own. At a French ] in 1965, Dalí met ], a ] then known as Peki D'Oslo.<ref name=Prose>Prose, Francine. (2000) ''''. Harper Perennial. ISBN 0-06-055525-4.</ref> Lear became his protégée and muse,<ref name = Prose/> later writing about their affair in her authorized biography ''My Life With Dalí'' (1986).<ref name=Lear>Lear, Amanda. (1986) ''My Life with Dalí''. Beaufort Books. ISBN 0-8253-0373-7.</ref> 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 ]-art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.<ref name=Prose /> She was referred to as Dalí's "Frankenstein,"<ref name=Lozano>Lozano, Carlos. (2000) ''Sex, Surrealism, Dalí, and Me''. Razor Books Ltd. ISBN 0-9538205-0-5.</ref> and some observers believed Lear's assumed name was a ] on the French phrase "L'Amant Dalí", or "Lover of Dalí". Lear took the place of an earlier muse, ], who had left Dalí's side to join ] of ].<ref name=Etherington-Smith>]. (1995) ''The Persistence of Memory: A Biography of Dalí''. Da Capo Press. ISBN 0-306-80662-2.</ref> | |||
=== Science === | |||
Both former apprentices would go on to successfully promote their own careers in the arts. On April 10, 2005, they joined a panel discussion "Reminiscences of Dalí: A Conversation with Friends of the Artist" as part of a symposium "The Dalí Renaissance" for a major retrospective Dalí show at the ].<ref name=PMADali>{{cite web|url=http://www.philamuseum.org/micro_sites/exhibitions/dali/downloads/symposium.pdf|title=(Symposium announcement)|work=The Dalí Renaissance: An international symposium|publisher=Philadelphia Museum of Art|accessdate=24 May 2012|date=April 10–11, 2005}}</ref> Their conversation is recorded in the 236-page exhibition catalog ''The Dalí Renaissance: New Perspectives on His Life and Art after 1940''.<ref name=Taylor>{{cite book|last=Taylor|first=edited by Michael R.|title=The Dalí renaissance : new perspectives on his life and art after 1940 : an international symposium|year=2008|publisher=Philadelphia Museum of Art, distributed by Yale University Press|location=New Haven, Conn.|isbn=9780300136470|url=http://www.philamuseum.org/publications/377-1-31012.html}}</ref> | |||
Dalí's life-long interest in science and mathematics was often reflected in his work. His soft watches have been interpreted as references to ] of time and space.<ref name="Conquete" /> Images of atomic particles appeared in his work soon after the ]<ref>Gibson, Ian (1997) pp. 433–34</ref> and strands of ] appeared from the mid-1950s.<ref name=":0" /> 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 have transcended the one of psychology. My father today is ]."<ref name="triangle">{{cite web |url=http://www.thetriangle.org/media/storage/paper689/news/2005/04/29/Entertainment/Dali-Explorations.Into.The.Domain.Of.Science-944328.shtml?norewrite200608080502 |title=Dalí: Explorations into the domain of science |archive-url=https://web.archive.org/web/20101208181828/http://media.www.thetriangle.org/media/storage/paper689/news/2005/04/29/Entertainment/Dali-Explorations.Into.The.Domain.Of.Science-944328.shtml |archive-date=8 December 2010 |work=The Triangle Online |access-date=8 August 2006 |last=Datta |first=Suman |page=1 |publisher=College Publisher}}</ref><ref>Salvador Dalí, "Anti-Matter Manifesto," Carstairs Gallery, New York, December 1958 – January 1959, quoted in Elliott H. King, 'Nuclear mysticism', Salvador Dalí: Liquid Desire, National Gallery of Victoria, Melbourne, 2009, p. 247.</ref> | |||
'']'' (1954) harks back to ''The Persistence of Memory'' (1931) and in portraying that painting in fragmentation and disintegration has been interpreted as a reference to Heisenberg's ].<ref name="triangle" /> | |||
===Architecture=== | |||
] in ] also holds the crypt where Dalí is buried]] | |||
Architectural achievements include his ] house near ], as well as his ] in ]. A major work outside of Spain was the temporary '']'' surrealist pavilion at the ], which contained within it a number of unusual sculptures and statues, including live performers posing as statues.<ref name=DrmVns>{{cite book|last=Schaffner|first=Ingrid, Photogr. by Eric Schaal|title=Salvador Dalí's "Dream of Venus" : the surrealist funhouse from the 1939 World's Fair|year=2002|publisher=Princeton Architectural Press|location=New York, NY|isbn=978-1568983592|edition=1. }}</ref> | |||
== Endeavors outside painting == | |||
===Literary works=== | |||
Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theater, fashion, and photography, among other areas. | |||
Under the encouragement of poet ], Dalí attempted an approach to a literary career through the means of the "pure novel". In his literary production ''Hidden Faces'' (1944), 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. The Comte de Grainsalles and Solange de Cléda pursue an awkward love affair, but property transactions, interwar political turmoil, the ], his marriage to another woman and her responsibilities as a landowner and businesswoman drive them apart. It is variously set in ], rural France, ] in North Africa and ] in the United States. Secondary characters include ageing widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured US fighter pilot. The novel concludes at the end of the ], with Solange dying before Grainsalles can return to his former property and reunite with her <ref>Salvador Dali: ''Hidden faces'': London: Owen: 1973</ref> | |||
=== Sculptures and other objects === | |||
His other, nonfictional literary works include '']'' (1942), ''Diary of a Genius'' (1952–63), and ''Oui: The Paranoid-Critical Revolution '' (1927–33). | |||
From the early 1930s, Dalí was an enthusiastic proponent of the proliferation of three-dimensional Surrealist Objects to subvert perceptions of conventional reality, writing: "museums will fast fill with objects whose uselessness, size and crowding will necessitate the construction, in deserts, of special towers to contain them."<ref>Gibson, Ian (1997), pp. 289–93</ref> His more notable early objects include ''Board of Demented Associations'' (1930–31), ''Retrospective Bust of a Woman'' (1933), ''Venus de Milo with Chest of Drawers'' (1936) and ''Aphrodisiac Dinner Jacket'' (1936). Two of the most popular objects of the Surrealist movement were '']'' (1936) and '']'' (1937) which were commissioned by art patron ].<ref name="natgalaust"> {{Webarchive|url=https://web.archive.org/web/20210723233243/https://nga.gov.au/international/catalogue/detail.cfm?IRN=2607 |date=23 July 2021 }}. ''National Gallery of Australia''. Retrieved on 4 August 2006.</ref> Lobsters and telephones had strong sexual connotations for Dalí who drew a close analogy between food and sex.<ref name="tate"> {{Webarchive|url=https://web.archive.org/web/20111009112103/http://www.tate.org.uk/servlet/ViewWork?workid=2988 |date=9 October 2011 }}. ''Tate Online''. Retrieved on 4 August 2006.</ref> The telephone was functional, and James purchased four of them from Dalí to replace the phones in his home. The ''Mae West Lips Sofa'' was shaped after the lips of actress Mae West, who was previously the subject of Dalí's watercolor, ''The Face of Mae West which may be used as a Surrealist Apartment (1934–35)''.<ref name="natgalaust" /> In December 1936 Dalí sent Harpo Marx a Christmas present of a harp with barbed-wire strings.<ref>Gibson, Ian (1997), p. 370</ref> | |||
After World War II Dalí authorized many sculptures derived from his most famous works and images. In his later years other sculptures also appeared, often in large editions, whose authenticity has sometimes been questioned.<ref>{{Cite web|url=https://www.artnews.com/art-news/news/the-dali-sculpture-mess-211/|title=The Dali Sculpture Mess|last=Peterson|first=Than|date=1 December 2008|website=Art News|access-date=2 April 2020|archive-date=7 August 2020|archive-url=https://web.archive.org/web/20200807012452/https://www.artnews.com/art-news/news/the-dali-sculpture-mess-211/|url-status=live}}</ref> | |||
===Graphic arts=== | |||
The artist worked extensively in the ], producing many etchings and ]s. 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 fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market. | |||
Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry, many of which are intricate, some containing moving parts. The most famous assemblage, ''The Royal Heart'', is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, created in such a way that the center "beats" like a heart.<ref>Owen Cheatham Foundation. ''Dalí, a study of his art-in-jewels: the collection of the Owen Cheatham Foundation''. New York: New York Graphic Society. 1959. p. 14.</ref> | |||
===Publicity=== | |||
After his arrival in the United States, Dalí engaged in heavy ].{{citation needed|date=May 2013}} | |||
While many of his stunts were seen as antics by art critics, they were later interpreted as ]s. | |||
Dalí ventured into industrial design in the 1970s with a 500-piece run of ''Suomi'' tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's "Studio Linie".<ref>{{cite journal | title = Faenza-Goldmedaille für SUOMI | journal=Artis | year = 1976 | volume = 29 | page = 8| issn = 0004-3842}}</ref> In 1969 he designed the ] logo.<ref>{{cite journal|last=H. Vázquez|first=Carlos|date=2 July 2015|title=Cuando Dalí reinventó Chupa Chups|url=http://forbes.es/business/7188/cuando-dali-reinvento-chupa-chups/|journal=]|language=es|access-date=17 March 2018|archive-date=4 June 2019|archive-url=https://web.archive.org/web/20190604112133/http://forbes.es/business/7188/cuando-dali-reinvento-chupa-chups/|url-status=live}}</ref> He facilitated the design of the advertising campaign for the ] and created a large on-stage metal sculpture that stood at the ] in Madrid.<ref>{{cite journal|last=Calandria|first=Juan|date=29 March 2017|title=Madrid acoge el festival de Eurovisión de 1969|url=http://eurovisionplanet.com/madrid-acoge-el-festival-de-eurovision-de-1969|journal=Eurovision Planet|language=es|access-date=17 March 2018|archive-date=17 March 2018|archive-url=https://web.archive.org/web/20180317232657/http://eurovisionplanet.com/madrid-acoge-el-festival-de-eurovision-de-1969|url-status=live}}</ref><ref>{{cite journal|author=Jacques|date=26 April 2009|title=40 años de Eurovisión 1969 – Segunda parte: Canciones 1–5|url=http://olevision.com/2009/04/40-anos-de-eurovision-1969-segunda-parte-canciones-1-5/|journal=Ole Vision|language=es|access-date=17 March 2018|archive-date=17 March 2018|archive-url=https://web.archive.org/web/20180317232704/http://olevision.com/2009/04/40-anos-de-eurovision-1969-segunda-parte-canciones-1-5/|url-status=live}}</ref> | |||
His status as an extravagant artist was put to use in several publicity campaigns for ] chocolates,<ref name="Augustin"/> "If you got it, flaunt it!" for ] (1968),<ref name="Namath">''Namath: A Biography'', ] </ref> and ]. | |||
]]] | |||
==Politics and personality== | |||
]. Photographed holding his pet ]]] | |||
Salvador Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both ] and ], though his writings tell anecdotes of making radical political statements more to shock listeners than from any deep conviction. This was in keeping with Dalí's allegiance to the ] movement.{{Citation needed|date=September 2014}} | |||
=== Theater and film === | |||
As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of the ]ist writer ], who is said to have called Dalí in for questioning on his politics. In his 1970 book ''Dalí by Dalí'', Dalí declared himself to be both an anarchist and ].{{Citation needed|date=September 2014}} | |||
In theater, Dalí designed the scenery for ]'s 1927 romantic play '']''.<ref>{{cite web|url=http://www.kirjasto.sci.fi/fglorca.htm |title=Federico García Lorca |website=Books and Writers (kirjasto.sci.fi) |first=Petri |last=Liukkonen |publisher=] Public Library |location=Finland |archive-url=https://web.archive.org/web/20150210175324/http://www.kirjasto.sci.fi/fglorca.htm |archive-date=10 February 2015 |url-status=dead }}</ref> For '']'' (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.<ref>Gibson, Ian (1997) pp. 385, 398–99</ref> He executed designs for a number of other ballets including ''Labyrinth'' (1942), ''Sentimental Colloquy'', ''Mad Tristan'', ''The Cafe of Chinitas'' (all 1944) and '']'' (1949).<ref>{{cite web |url=http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html |title=Past Exhibitions |archive-url=https://web.archive.org/web/20060903014732/http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html |archive-date=3 September 2006 |work=] |access-date=8 August 2006 |publisher=]}}</ref><ref name=":1" /> | |||
Dalí became interested in film when he was young, going to the theater most Sundays.<ref>"Dalí & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.</ref> By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"<ref>Gibson, Ian (1997) p. 174</ref> and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short '']'' (1929) and the feature film '']'' (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of ''Un Chien Andalou'', but there is controversy over the extent of Dalí's contribution to ''L'Age d'Or''.<ref>Gibson, Ian (1997) pp. 248–49</ref> ''Un Chien Andalou'' features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality.<ref>Eberwein, Robert T. (2014). '' {{Webarchive|url=https://web.archive.org/web/20200217091955/https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83&dq= |date=17 February 2020 }}''. Princeton University Press. p. 83. {{ISBN|1-4008-5389-3}}.</ref> ''L'Age d'Or'' is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown.<ref>Gibson, Ian (1997), pp. 267–74</ref> Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "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."<ref>Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.</ref> | |||
With the outbreak of the ] (1936–1939), Dalí fled from the fighting and refused to align himself with any group. He did the same during World War II (1939–1945), for which he was heavily criticized; ] accused him of "scuttling off like a rat as soon as France is in danger" after Dalí had prospered in France during the pre-war 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", Orwell observed.<ref name=orwell>Orwell, George . theorwellprize.co.uk. Retrieved February 24, 2012.</ref> In a notable 1944 review of Dalí's autobiography, Orwell wrote, "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".<ref name="orwell"/> | |||
After he collaborated with Buñuel, Dalí worked on several unrealized film projects including a published script for a film, ''Babaouo'' (1932); a scenario for ] called ''Giraffes on Horseback Salad'' (1937); and an abandoned dream sequence for the film ''Moontide'' (1942).<ref>"Dali: Painting and Film," Press release, Museum of Modern Art, June 2008</ref> In 1945 Dalí created the dream sequence in Hitchcock's '']'', but neither Dalí nor the director was satisfied with the result.<ref>Gibson, Ian (1997) pp. 434–35</ref> Dalí also worked with ] and animator ] on the short film '']'' in 1946.<ref name=":3" /> After initially being abandoned, the animated film was completed in 2003 by Baker Bloodworth and Walt Disney's nephew ]. Between 1954 and 1961 Dalí worked with photographer ] on ''The Prodigious History of the Lacemaker and the Rhinoceros'', but the film was never completed.<ref>Gibson, Ian (1997) p. 479</ref> | |||
After his return to ] post World War II, Dalí moved closer to the ] regime of ]. Some of Dalí's statements were supportive, congratulating Franco for his actions aimed "at clearing Spain of destructive forces".<ref name=navarro>Navarro, Vicente, PhD . ''Counterpunch''. December 6, 2003. Retrieved July 22, 2006.</ref> Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the ] ].<ref>{{cite web|url=http://libro.uca.edu/payne2/payne26.htm |title=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) |publisher=Libro.uca.edu |accessdate=August 22, 2010}}</ref><ref>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.</ref> Dalí sent telegrams to Franco, praising him for signing ]s for prisoners.<ref name=navarro /> He even met Franco personally,<ref>{{cite web|url=http://www.andrewcusack.com/2005/07/25/fun-with-franco/|title=Fun with Franco!|work=andrewcusack.com|accessdate=February 14, 2015}}</ref> and painted a portrait of Franco's granddaughter. | |||
In the 1960s Dalí worked with some directors on documentary and performance films including with ] on ''Chaos and Creation'' (1960), ] on ''Dalí in New York'' (1966) and ] on ''Soft Self-Portrait of Salvador Dalí'' (1966).<ref>Gibson, Ian (1997), pp. 519, 726</ref> | |||
He also once sent a telegram praising the ''Conducător'', ]n ] leader ], for his adoption of a ] as part of his regalia. The Romanian daily newspaper '']'' published it, without suspecting its mocking aspect. One of Dalí's few possible bits of open disobedience was his continued praise of ] even in the years when Lorca's works were banned.<ref name="conversations"/>{{Failed verification|date=August 2009}} | |||
Dalí collaborated with director José-Montes Baquer on the pseudo-documentary film ''Impressions of Upper Mongolia'' (1975), in which Dalí narrates a story about an expedition in search of giant hallucinogenic mushrooms.<ref>Elliott H. King, {{Webarchive|url=https://web.archive.org/web/20070621210510/http://www.kamera.co.uk/article.php/895 |date=21 June 2007 }}, Kamera Books 2007, p. 169.</ref> In the mid-1970s film director ] initially cast Dalí in the role of the Padishah Emperor in a production of ''Dune'', based on the novel by Frank Herbert. However, Jodorowsky changed his mind after Dalí publicly supported the execution of alleged ETA terrorists in December 1975. The film was ultimately never made.<ref>Gibson, Ian (1997) p. 562</ref><ref>{{cite web|url=http://jodorowskysdune.com/synopsis.html|title=Jodorowsky's Dune – Official Website of the Documentary – Synopsis|work=jodorowskysdune.com|url-status=dead|archive-url=https://web.archive.org/web/20150217071152/http://jodorowskysdune.com/synopsis.html|archive-date=17 February 2015|access-date=14 February 2015}}</ref> | |||
Dalí, a colorful and imposing presence with his ever–present long cape, walking stick, haughty expression, and upturned waxed moustache, was famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".<ref name=smithsonian>. ''Smithsonian Magazine.'' 2005. Retrieved August 31, 2006.</ref> The entertainer ] and her husband ], when young, came to a party at Dalí's expensive residence in New York's ] and were startled when Cher sat down on an oddly shaped sexual vibrator left in an easy chair.{{citation needed|date=May 2012}} In the 1960s, he gave the actress ] a dead mouse in a bottle, hand-painted, which her mother, actress ], demanded be removed from her house.<ref>{{cite web|url=http://lidogallery.wordpress.com/2012/03/23/salvador-dali-mia-farrow-a-surreal-friendship/|title=Salvador Dalí & Mia Farrow, a Surreal Friendship|work=lidogallery|accessdate=February 14, 2015}}</ref> | |||
In 1972 Dalí began to write the scenario for an opera-poem called '']'' (). The Spanish writer ] wrote the libretto and ] the music. The opera poem was recorded in Paris in 1974 with Dalí in the role of the protagonist.<ref>Gibson, Ian (1997) pp. 556–557</ref> | |||
Dali's religious views were a matter of interest. In interviews Dali revealed his mysticism. In his later years, while still remaining a Roman Catholic, Dalí also claimed to be an agnostic.<ref>{{cite book|title=Salvador Dalí, 1904-1989|year=1994|publisher=Benedikt Taschen|isbn=9783822802984|author=Robert Descharnes, Gilles Néret|accessdate=11 August 2012|page=166|quote=Dali, dualist as ever in his approach, was now claiming to be both an agnostic and a Roman Catholic.}}</ref> | |||
=== Fashion and photography === | |||
When signing autographs for fans, Dalí would always keep their pens.{{citation needed|date=May 2012}} Salvador Dalí frequently traveled with his pet ] Babou, even bringing it aboard the luxury ocean liner '']''.<ref>. Thewebsiteofeverything.com. Retrieved on 2014-05-12.</ref> He was also known to avoid paying tabs at restaurants by drawing on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.<ref>. Artexpertswebsite.com. Retrieved on 2014-05-12.</ref> | |||
] (1948), shown before support wires were removed from the image]] | |||
Fashion designer ] worked with Dalí from the 1930s and commissioned him to produce a ]. 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. In 1950, Dalí created a special "costume for the year 2045" with Christian Dior.<ref name="designs"> {{Webarchive|url=https://web.archive.org/web/20061022112905/http://www.designws.com/pagina/1dalieng.htm |date=22 October 2006 }}. ''Paris Contemporary Designs''. Retrieved on 8 August 2006.</ref> | |||
Photographers with whom he collaborated include ], ], ], and ]. Halsman produced the ''Dalí Atomica'' series (1948) – inspired by Dalí's 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".<ref name="designs" /> | |||
Besides visual puns, Dalí shared in the surrealist delight in verbal puns, obscure allusions, and word games. He often spoke in a bizarre combination of French, Spanish, ], and English which was sometimes amusing as well as arcane. His copious writings freely mixed words from different languages with terms entirely of his own devising.{{citation needed|date=May 2012}} | |||
=== Architecture === | |||
When interviewed by ] on his '']'' television show, Dalí kept referring to himself in the ], as the "Divino Dalí" (Divine Dalí), and told the startled Wallace matter-of-factly that he did not believe in his death.<ref>{{cite web | |||
] in ] also holds the crypt where Dalí is buried]] | |||
| url = http://www.hrc.utexas.edu/multimedia/video/2008/wallace/dali_salvador_t.html | |||
Dalí's architectural achievements include his ] house near ], as well as his Theatre Museum in ]. A major work outside of Spain was the temporary ''Dream of Venus'' Surrealist pavilion at the 1939 New York World's Fair, which contained several unusual sculptures and statues, including live performers posing as statues.<ref name=DrmVns>{{cite book|last=Schaffner|first=Ingrid|others= Photogr. by Eric Schaal|title=Salvador Dalí's "Dream of Venus": the surrealist funhouse from the 1939 World's Fair|year=2002|publisher=Princeton Architectural Press|location=New York|isbn=978-1-56898-359-2|edition=1. }}</ref> In 1958, Dalí completed ''Crisalida,'' a temporary installation promoting a drug, which was exhibited at a medical convention in San Francisco.<ref>{{Cite journal |last=Weir |first=Simon |date=29 July 2022 |title=Surrealist Architecture: Dalí's 1958 Crisalida, San Francisco |url=https://jsa-asu.org/index.php/JSA/article/view/245 |journal=Journal of Surrealism and the Americas |language=en |volume=13 |issue=1 |issn=2326-0459}}</ref> | |||
| title = Salvador Dali - The Mike Wallace interview - transcript | |||
| date = 1958-04-19 (interview date) | |||
| accessdate = 2012-12-06 | |||
| work = ] | |||
| publisher = ] | |||
}}</ref> On January 27, 1957, he was the mystery guest on the US panel show '']'' and signed the chalkboard with thick white paint.<ref>{{cite web|url=http://www.retronaut.co/2011/07/whats-my-line-featuring-salvador-dali/ |title=Dali on Whats my Line |work=retronaut.co |accessdate=February 14, 2015 |deadurl=yes |archiveurl=https://web.archive.org/20150116202939/http://www.retronaut.co/2011/07/whats-my-line-featuring-salvador-dali/ |archivedate=16 January 2015 }}</ref> His answers were misleading and prompted guidance from host ].<ref></ref><ref>{{youtube|iXT2E9Ccc8A}}</ref> | |||
=== Literary works === | |||
Dali appeared in public a number of occasions with an ], notably on a lead in Paris in 1969 and on the '']'' on March 6, 1970 when he carried a small anteater on-stage. It has been claimed that he surprised fellow guest ] by flinging the anteater onto her lap.<ref></ref> | |||
In his only novel, ''Hidden Faces'' (1944), Dalí describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolizes the decadence of the 1930s. The Comte de Grandsailles and Solange de Cléda pursue a love affair, but interwar political turmoil and other vicissitudes drive them apart. It is variously set in Paris, rural France, Casablanca in North Africa, and Palm Springs in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured U.S. fighter pilot.<ref>Salvador Dalí: ''Hidden faces'': London: Owen: 1973</ref> The novel was written in New York, and translated by ].<ref name=":10" /> | |||
His other literary works include ''The Secret Life of Salvador Dalí'' (1942), ''Diary of a Genius'' (1966), and ''Oui: The Paranoid-Critical Revolution'' (1971). Dalí also published poetry, essays, art criticism, and a technical manual on art.<ref>Gibson, Ian (1997) pp. 710–13 and ''passim''</ref> | |||
=== Graphic arts === | |||
Dalí worked extensively in the graphic arts, producing many drawings, etchings, and lithographs. Among the most notable of these works are forty etchings for an edition of Lautréamont's ''The Songs of Maldoror'' (1933) and eighty drypoint reworkings of Goya's ''Caprichos'' (1973–77).<ref>Gibson, Ian (1997), pp. 308–13, 567</ref> From the 1960s, however, Dalí would often sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.<ref name="Forde_170">Forde, Kevin (2011). '' {{Webarchive|url=https://web.archive.org/web/20200204140832/https://books.google.com/books?id=diNmCP6irQkC&pg=PA170 |date=4 February 2020 }}''. Wiley. p. 170. {{ISBN|1-74246-821-7}}.</ref> | |||
Book illustrations were an important part of Dalí's work throughout his career. His first book illustration was for the 1924 publication of the Catalan poem ''{{Ill|Les bruixes de Llers|ca}}'' ("The Witches of Liers") by his friend and schoolmate, poet ].<ref>{{cite web| url = https://www.abebooks.fr/bruixes-Llers-Fages-Climent-Carles-Ilustra/22923917071/bd| title = ''Les bruixes de Llers'', Fages de Climent, Carles. Ilustra: Salvador Dalí. Editorial Políglota (imp. Altés), 1924| access-date = 20 March 2020| archive-date = 20 March 2020| archive-url = https://web.archive.org/web/20200320172432/https://www.abebooks.fr/bruixes-Llers-Fages-Climent-Carles-Ilustra/22923917071/bd| url-status = live}}</ref><ref> {{Webarchive|url=https://web.archive.org/web/20200320172432/https://www.sothebys.com/en/auctions/ecatalogue/2019/livres-et-manuscrits-pf1903/lot.104.html |date=20 March 2020 }}. Sotheby's Paris, 18 June 2019</ref><ref>. Extract Ian Gibson on Dalí and the theme of ''Les bruixes de Llers''</ref> His other notable book illustrations, apart from ''The Songs of Maldoror'', include 101 watercolors and engravings for ''The Divine Comedy'' (1960) and 100 drawings and watercolors for ''The Arabian Nights'' (1964).<ref>Gibson, Ian (1997) pp. 496–97, 512</ref> | |||
== Politics and personality == | |||
=== Politics and religion === | |||
] and his wife ] during their official visit to ], June 1970]] | |||
As a youth, Dalí identified as communist, anti-monarchist and anti-clerical,<ref>Gibson, Ian (1997) pp. 64–67, 83–84</ref> and in 1924 he was briefly imprisoned by the ] as a person "intensely liable to cause public disorder".<ref>Gibson, Ian (1997), pp. 113–14</ref> When Dalí officially joined the Surrealist group in 1929 his political activism initially intensified. In 1931, he became involved in the ], delivering lectures at meetings and contributing to their party journal.<ref>Gibson, Ian (1997) pp. 287–89</ref> However, as political divisions within the Surrealist group grew, Dalí soon developed a more apolitical stance, refusing to publicly denounce fascism. In 1934, ] accused him of being sympathetic to Hitler and Dalí narrowly avoided being expelled from the group.<ref>Gibson, Ian (1997) pp. 320–25</ref> In 1935 Dalí wrote a letter to Breton suggesting that non-white races should be enslaved.<ref>{{Cite news|url=https://www.telegraph.co.uk/world-news/2022/09/01/salvador-dali-wanted-enslave-non-white-races-create-new-sadistic/|title=Salvador Dali wanted to enslave non-white races and create new 'sadistic' religion, letter reveals|first=James|last=Badcock|newspaper=The Telegraph |date=1 September 2022|via=www.telegraph.co.uk}}</ref> After the outbreak of the Spanish Civil War in 1936, Dalí avoided taking a public stand for or against the Republic.<ref name=":4" /> However, immediately after Franco's victory in 1939, Dalí praised Catholicism and the Falange and was expelled from the Surrealist group.<ref name=":5" /> | |||
After Dalí's return to his native Catalonia in 1948, he publicly supported Franco's regime and announced his return to the Catholic faith.<ref>Gibson, Ian (1997), pp. 448, 465–66</ref> Dalí was granted an audience with Pope Pius XII in 1949 and with ] in 1959. He had official meetings with General Franco in June 1956, October 1968, and May 1974.<ref>Gibson, Ian (1997) pp. 486, 543, 553</ref> In 1968, Dalí stated that on Franco's death there should be no return to democracy and Spain should become an absolute monarchy.<ref>Gibson, Ian (1997) pp. 525–27</ref> In September 1975, Dalí publicly supported Franco's decision to execute three alleged Basque terrorists and repeated his support for an absolute monarchy, adding: "Personally, I'm against freedom; I'm for the Holy Inquisition." In the following days, he fled to New York after his home in Port Lligat was stoned and he had received numerous death threats.<ref>Gibson, Ian (1997) pp. 560–62</ref> When King Juan Carlos visited the ailing Dalí in August 1981, Dalí told him: "I have always been an anarchist and a monarchist."<ref>Gibson, Ian (1997) p. 587</ref> | |||
Dalí espoused a mystical view of Catholicism and in his later years he claimed to be a Catholic and an agnostic.<ref>{{cite book|author=Robert Descharnes, Gilles Néret|url=https://archive.org/details/salvadordali190400robe/page/166|title=Salvador Dalí, 1904–1989|publisher=Benedikt Taschen|year=1994|isbn=978-3-8228-0298-4|page=|quote=Dalí, dualist as ever in his approach, was now claiming to be both an agnostic and a Roman Catholic.}}</ref> He was interested in the writings of the Jesuit priest and philosopher ]<ref>{{Cite book|last=McNeese|first=Tim|title=Salvador Dalí|publisher=Chelsea House|year=2006|isbn=978-0-7910-8837-1|page=102}}</ref> and his ] theory. Dalí's painting '']'' (1967) was inspired by his reading of Chardin.<ref>Gibson, Ian (1997) p. 525</ref> | |||
=== Sexuality === | |||
Dalí's sexuality had a profound influence on his work. He stated that as a child he saw a book with graphic illustrations of venereal diseases and this provoked a life-long disgust of female genitalia and a fear of impotence and sexual intimacy. Dalí frequently stated that his main sexual activity involved voyeurism and masturbation and his preferred sexual orifice was the anus.<ref>Gibson, Ian (1997) pp. 71–74,166, 232, 280–81</ref> Dalí said that his wife Gala was the only person with whom he had achieved complete coitus.<ref>Gibson, Ian (1997), p. 231</ref> From 1927, Dalí's work featured graphic and symbolic sexual images usually associated with other images evoking shame and disgust. Anal and fecal imagery is prominent in his work from this time. Some of the most notable works reflecting these themes include '']'' (1929), '']'' (1929), and '']'' (1929). Several of Dalí's intimates in the 1960s and 1970s have stated that he would arrange for selected guests to perform choreographed sexual activities to aid his voyeurism and masturbation.<ref>Gibson, Ian (1997) p. 534</ref><ref>{{cite web |title=Dali's surreal world of orgies and onanism: Dirty Dali: A Private View |url=https://www.scotsman.com/whats-on/arts-and-entertainment/dalis-surreal-world-orgies-and-onanism-2462086 |website=The Scotsman |date=4 June 2007 |access-date=21 November 2020 |archive-date=29 November 2020 |archive-url=https://web.archive.org/web/20201129112906/https://www.scotsman.com/whats-on/arts-and-entertainment/dalis-surreal-world-orgies-and-onanism-2462086 |url-status=live }}</ref><ref>{{cite journal|last=Sewell|first=Brian|date=1 January 2007|title=The Dalí I knew|url=https://www.standard.co.uk/go/london/exhibitions/the-dali-i-knew-6587130.html|journal=]|archive-url=https://web.archive.org/web/20070707184041/http://www.thisislondon.co.uk/arts/article-23398918-details/The+Dali+I+knew/article.do|archive-date=7 July 2007}}</ref> | |||
===Personality=== | |||
] | |||
Dalí was renowned for his eccentric and ostentatious behavior throughout his career. In 1941, the Director of Exhibitions and Publications at MoMA wrote: "The fame of Salvador Dalí has been an issue of particular controversy for more than a decade...Dalí's conduct may have been undignified, but the greater part of his art is a matter of dead earnest."<ref>Gibson, Ian (1997) pp. 413–14</ref> When Dalí was elected to the ] in 1979, one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries".<ref>Gibson, Ian (1997) p. 569</ref> | |||
In 1936, at the premiere screening of ]'s film '']'' at Julien Levy's gallery in New York City, Dalí knocked over the projector in a rage. "My idea for a film is exactly that," he said shortly afterward, "I never wrote it down or told anyone, but it is as if he had stolen it!"<ref>{{cite web|url=http://andel.home.mindspring.com/cornell_notes.htm|title=Program Notes by Andy Ditzler (2005) and Deborah Solomon, ''Utopia Parkway: The Life of Joseph Cornell'' (New York: Farrar, Straus, and Giroux, 2003)|publisher=Andel.home.mindspring.com|url-status=dead|archive-url=https://web.archive.org/web/20050408200021/http://andel.home.mindspring.com/cornell_notes.htm|archive-date=8 April 2005|access-date=22 August 2010}}</ref> In 1939, after creating a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window.<ref name="Meisler" /> In 1955, he delivered a lecture at the Sorbonne, arriving in a Rolls-Royce full of cauliflowers.<ref>Gibson, Ian (1997), p. 479</ref> To promote Robert Descharnes' 1962 book ''The World of Salvador Dalí'', he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.<ref name="Meisler" /> | |||
After World War II, Dalí became one of the most recognized artists in the world, and his long cape, walking stick, haughty expression, and upturned waxed mustache became icons of his brand. His boastfulness and public declarations of his genius became essential elements of the public Dalí persona: "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".<ref name="Smithsonian"> {{Webarchive|url=https://web.archive.org/web/20070303165950/http://www.smithsonianmagazine.com/issues/2005/april/dali.php?page=3 |date=3 March 2007 }}. ''Smithsonian Magazine.'' 2005. Retrieved 31 August 2006.</ref> | |||
Dalí frequently traveled with his pet ] ], even bringing it aboard the luxury ocean liner SS ''France''.<ref name="NBCSSFrance">{{cite news |title=Retired cruise ship now asbestos battleground |url=https://www.nbcnews.com/id/wbna12702721 |access-date=7 May 2022 |work=NBC News |language=en}}</ref> | |||
Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on '']'' on 7 January 1963,<ref> on which he created a work of art out of his own name,</ref> '']''<ref>{{Cite news|url=http://www.hrc.utexas.edu/multimedia/video/2008/wallace/dali_salvador.html|title=Mike Wallace Interviews Salvador Dalí|work=The Mike Wallace Interview|access-date=5 April 2020|archive-date=3 December 2013|archive-url=https://web.archive.org/web/20131203083758/http://www.hrc.utexas.edu/multimedia/video/2008/wallace/dali_salvador.html|url-status=dead}}</ref> and the panel show '']''.<ref>{{cite web|url=http://www.retronaut.co/2011/07/whats-my-line-featuring-salvador-dali/ |title=Dalí on Whats my Line |work=retronaut.co |access-date=14 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20120602185039/http://www.retronaut.co/2011/07/whats-my-line-featuring-salvador-dali/ |archive-date=2 June 2012 }}</ref><ref>{{Cite news|url=https://www.huffingtonpost.com/2015/04/29/art-television_n_7156450.html|title=The Early Days Of Television Were Way More Avant-Garde Than You Give Them Credit For|first=Priscilla|last=Frank|date=29 April 2015|access-date=26 June 2017|newspaper=Huffington Post|archive-date=4 September 2016|archive-url=https://web.archive.org/web/20160904132937/http://www.huffingtonpost.com/2015/04/29/art-television_n_7156450.html|url-status=live}}</ref> Dalí appeared on ''The Dick Cavett Show'' on 6 March 1970 carrying an anteater.<ref>{{cite web| url = https://www.youtube.com/watch?v=3CmM19jBdrI| title = Salvador Dalí on the Dick Cavett Show, Youtube| website = YouTube| date = 10 May 2016| access-date = 20 November 2017| archive-date = 28 January 2017| archive-url = https://web.archive.org/web/20170128132312/https://www.youtube.com/watch?v=3CmM19jBdrI&app=desktop| url-status = live}}</ref> He also appeared in numerous advertising campaigns such as {{illm|Lanvin (chocolate)|lt=Lanvin|fr|Lanvin (chocolat)}} chocolates<ref name="Augustin"> {{Webarchive|url=https://web.archive.org/web/20071011211226/http://ehotelier.com/browse/news_item.php?id=P12135 |date=11 October 2007 }} Andreas Augustin, ehotelier.com, 2007</ref><ref>{{youTube|O0Zc1heZlwc|Salvador Dali – Chocolat Lanvin $}}</ref> and Braniff International Airlines in 1968.<ref name="Namath">''Namath: A Biography'', ] ]</ref> | |||
==Legacy== | ==Legacy== | ||
Two major museums are devoted to Dalí's work: the Dalí Theatre-Museum in ], Catalonia, Spain, and the ] in ], Florida, U.S. | |||
] on a traffic box in ]]] | |||
Salvador Dalí has been cited as major inspiration by many modern artists, such as ], ], ] and most other modern surrealists. Salvador Dalí's manic expression and famous moustache have made him something of a ] for the bizarre and surreal. He has been portrayed on film by ] in '']'' (2008), and by ] in '']'' (2011). He was also parodied in a series of painting skits on '']'' as "Salvador Silly" (played by Cosmo Allegretti) and in a '']'' muppet skit as "Salvador Dada" (an orange gold Anything Muppet performed by ]). | |||
Dalí's life and work have been an important influence on pop art, other Surrealists, and contemporary artists such as Jeff Koons and Damien Hirst.<ref name=":9">{{Cite web|url=https://www.tate.org.uk/tate-etc/issue-3-spring-2005/who-paints-bread-better-dali|title=Who Paints Bread Better than Dali|last=Koons|first=Jeff|date=March 2005|access-date=1 April 2020|archive-date=9 June 2020|archive-url=https://web.archive.org/web/20200609111948/https://www.tate.org.uk/tate-etc/issue-3-spring-2005/who-paints-bread-better-dali|url-status=live}}</ref><ref name=":8" /> He has also had a continuing influence on contemporary culture. He has been portrayed on film by ] in '']'' (2008), by ] in '']'' (2011), and by ] in '']''. The Spanish television series '']'' (2017–2021) includes characters wearing a costume of red jumpsuits and Dalí masks.<ref name="newstatesman_180824">{{cite web |last=Bock |first=Pauline |date=24 August 2018 |title=Spanish hit series 'La Casa de Papel' captures Europe's mood a decade after the crash |url=https://www.newstatesman.com/culture/tv-radio/2018/08/spanish-hit-series-la-casa-de-papel-captures-europe-s-mood-decade-after |url-status=live |archive-url=https://web.archive.org/web/20190808075610/https://www.newstatesman.com/culture/tv-radio/2018/08/spanish-hit-series-la-casa-de-papel-captures-europe-s-mood-decade-after |archive-date=8 August 2019 |access-date=11 August 2019 |website=New Statesman}}</ref> The creator of the series stated that the Dalí mask was chosen because it was an iconic Spanish image.<ref name="elpais_180712">{{cite news |last=Ruiz de Elvira |first=Álvaro |date=13 July 2018 |title=Álex Pina: "Hay que hacer avances en la ficción, el espectador es cada vez más experto" |url=https://elpais.com/cultura/2018/07/12/television/1531403342_602750.html |url-status=live |archive-url=https://web.archive.org/web/20190702110351/https://elpais.com/cultura/2018/07/12/television/1531403342_602750.html |archive-date=2 July 2019 |access-date=10 August 2019 |work=El País |language=es}}</ref> The ] in Bolivia and the ] on the planet Mercury are named for him.<ref>{{Cite web|date=13 December 2020|title=La Reserva Nacional de Fauna Andina Eduardo Avaroa cumple 47 años de creación|url=http://sernap.gob.bo/la-reserva-nacional-de-fauna-andina-eduardo-avaroa-cumple-47-anos-de-creacion/|url-status=live|access-date=7 July 2021|website=Servicio Nacional de Áreas Protegidas|archive-date=10 December 2021|archive-url=https://web.archive.org/web/20211210185334/http://sernap.gob.bo/la-reserva-nacional-de-fauna-andina-eduardo-avaroa-cumple-47-anos-de-creacion/}}</ref><ref>{{cite web|title=Dali|url=http://planetarynames.wr.usgs.gov/Feature/14507|access-date=30 June 2012|work=Gazetteer of Planetary Nomenclature|publisher=]|archive-date=2 June 2011|archive-url=https://web.archive.org/web/20110602091702/http://planetarynames.wr.usgs.gov/Feature/14507|url-status=live}}</ref> The container ship ] was also named after him in 2015.<ref name="mte">{{cite news |date=5 January 2015 |title=HHI Names Two Containerships for New Year |url=https://maritime-executive.com/corporate/hhi-names-two-new-containerships-for-new-year |access-date=26 March 2024}}</ref> | |||
The ] crater on the planet ] is named for him. | |||
] currently serves as his official estate.<ref>{{cite web |title=Salvador Dalí's Museums – Gala |url=http://www.salvador-dali.org/en_index.html |url-status=live |archive-url=https://web.archive.org/web/20140625173816/http://www.salvador-dali.org/en_index.html |archive-date=25 June 2014 |access-date=26 June 2017 |website=www.salvador-dali.org |publisher=Salvador Dalí Foundation}}</ref> The US copyright representative for the Gala-Salvador Dalí Foundation is the ].<ref>{{cite web |title=Most frequently requested artists list of the Artists Rights Society |url=http://arsny.com/requested.html |archive-url=https://web.archive.org/web/20090131151943/http://arsny.com/requested.html |archive-date=31 January 2009 |publisher=]}}</ref> | |||
==Listing of selected works== | |||
{{Main|List of works by Salvador Dalí}} | |||
Dalí produced over 1,500 paintings in his career<ref>{{cite web | title=The Salvador Dalí Online Exhibit | work=MicroVision | url=http://www.daliweb.tampa.fl.us/collection.htm | accessdate =June 13, 2006}}</ref> 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 short film for ]. He also collaborated with director Jack Bond in 1965, creating a movie titled ''Dalí 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.<ref name=Dali /> | |||
== Honors == | |||
In Carlos Lozano's biography, ''Sex, Surrealism, Dalí, and Me'', produced with the collaboration of ], 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."<ref name=artcyclopedia /> | |||
* 1910 '']'' | |||
* 1913 '']'' | |||
* 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 '']'' and ''Night Walking Dreams'' | |||
* 1923 ''Self Portrait with L'Humanite'' and ''] with La Publicitat'' | |||
* 1924 ''Still Life (Syphon and Bottle of Rum)'' (for ]) 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 '']'', ''Girl from Figueres'' and ''Girl with Curls'' | |||
* 1927 ''Composition with Three Figures (Neo-Cubist Academy)'' and ''Honey is Sweeter than Blood'' (his first important surrealist work) | |||
* 1929 {{lang|fr|'']''}} (''An Andalusian Dog'') film in collaboration with ], '']'', '']'', '']'', and ''The Profanation of the Host'' | |||
* 1930 {{lang|fr|'']''}} (''The Golden Age'') film in collaboration with Luis Buñuel | |||
* 1931 '']'' (his most famous work, featuring the "melting clocks"), ''The Old Age of William Tell'', and ''William Tell and ]'' | |||
* 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 ]) and ''Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder'', ''Gala in the Window'' | |||
* 1934 '']'' and ''A Sense of Speed'' | |||
* 1935 ''Archaeological Reminiscence of Millet's Angelus'' and ''The Face of ]'' | |||
* 1936 ''Autumn Cannibalism'', '']'', '']'' and two works titled '']'' (the first of which began in 1934) | |||
* 1937 '']'', '']'', '']'', ''Sleep'', ''The Enigma of Hitler'', '']'' and ''Cannibalism in Autumn'' | |||
* 1938 ''The Sublime Moment'' and '']'' | |||
* 1939 '']'' | |||
* 1940 '']'', '']'' | |||
* 1941 ''Honey is Sweeter than Blood'' | |||
* 1943 ''The Poetry of America'' and '']'' | |||
* 1944 ''Galarina'' and '']'' | |||
* 1944–48 ''Hidden Faces'', a novel | |||
* 1945, '']'' and ''Fountain of Milk Flowing Uselessly on Three Shoes''; also this year, Dalí collaborated with ] on a dream sequence to the film '']'', to mutual dissatisfaction | |||
* 1946 '']'' | |||
* 1948 '']'' | |||
* 1949 '']'' and '']''. Dalí returned to Catalonia this year | |||
* 1951 '']'' and ''Exploding Raphaelesque Head'' | |||
* 1951 ], a portrait of the famed actress | |||
* 1952 '']'' | |||
* 1954 '']'' (begun in 1952), '']'' and '']'' | |||
* 1955 '']'', ''Lonesome Echo'', record album cover for ] | |||
* 1956 '']'', ''Rinoceronte vestido con puntillas'' | |||
* 1957 '']'' oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton, NB, Canada | |||
* 1958 ''The Meditative Rose'' | |||
* 1959 '']'' | |||
* 1960 ''Composición Numérica (de fond préparatoire inachevé)]'' | |||
* 1960 Dalí began work on the ] and ''Portrait of ], the Assistant to Velázquez'' | |||
* 1961 ''Dali created one of his most interesting works –"" '' | |||
* 1963–1964 ''They Will All Come from Saba'' a work in water color depicting the Magi at St. Petersburg's Dalí Museum | |||
* 1965 Dalí donates a ], ink and pencil drawing of the Crucifixion to the ] jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981<ref name="jail">{{cite news | url=http://news.bbc.co.uk/1/hi/world/americas/2812683.stm | title=Dalí picture sprung from jail |publisher=BBC | date=March 2, 2003}}</ref> | |||
* 1965 ''Dalí in New York'' | |||
* 1967 '']'' | |||
* 1969 ] logo | |||
* 1969 ''Improvisation on a Sunday Afternoon'', television collaboration with the British ] group ]{{citation needed|date=May 2013}} | |||
* 1970 '']'', acquired in 1969 by ] before it was completed{{citation needed|date=May 2013}} | |||
* 1972 '']'', '']'' | |||
* 1973 "Le Diners De Gala", an ornately illustrated cook book | |||
* 1976 '']'' | |||
* 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'' (] pair of paintings) | |||
* 1983 Dalí completes his final painting, '']'' | |||
* 1983 A job that he made for decades since 1941 is published; 78 paintings that the mystical man, who liked the esoteric, painted with the help of his wife, to create a tarot deck, ''Dali Universal Tarot Deck'' is a work of art that few know .<ref>. ''Dalí Deck tarot''.</ref> | |||
* '''1964''': Knight Grand Cross of the ]<ref>{{cite web|url=http://en.museuberardo.pt/collection/artists/138|title=Dalí – Museu Berardo|website=en.museuberardo.pt|access-date=26 June 2017|archive-date=27 May 2017|archive-url=https://web.archive.org/web/20170527130700/http://en.museuberardo.pt/collection/artists/138|url-status=live}}</ref> | |||
;Posthumous | |||
* '''1972''': Associate member of the ]<ref>{{cite web|url=http://www.academieroyale.be/fr/details-690/relations/salvador-dali/secorig593/|title=Salvador Dalí|website=www.academieroyale.be|access-date=26 June 2017|archive-date=23 October 2017|archive-url=https://web.archive.org/web/20171023174020/http://www.academieroyale.be/fr/details-690/relations/salvador-dali/secorig593/|url-status=live}}</ref> | |||
* 2003 {{lang|es|'']''}}, an animated short film originally a collaboration between Dalí and ], is released. Production on {{lang|es|''Destino''}} began in 1945 | |||
* '''1978''': Associate member of the ] of the ]<ref>{{Cite web|url=https://www.academiedesbeauxarts.fr/academiciens-depuis-1795?field_chair_target_id=All&field_election_date_value=1978-12-31&field_death_date_value=1978-01-01&year=1978|title=Académiciens depuis 1795|website=Academy des Beaux-Arts|date=13 February 1957 |access-date=5 April 2020|archive-date=6 August 2020|archive-url=https://web.archive.org/web/20200806232229/https://www.academiedesbeauxarts.fr/academiciens-depuis-1795?field_chair_target_id=All&field_election_date_value=1978-12-31&field_death_date_value=1978-01-01&year=1978|url-status=live}}</ref> | |||
* '''1981''': Knight Grand Cross of the ]<ref>{{Cite news|url=https://www.nytimes.com/1983/04/19/arts/major-retrospective-honors-dali-in-spain.html|title=Major Retrospective Honors Dalí in Spain|date=19 April 1983|newspaper=The New York Times|access-date=26 June 2017|last1=Darnton|first1=John|archive-date=23 October 2017|archive-url=https://web.archive.org/web/20171023175348/http://www.nytimes.com/1983/04/19/arts/major-retrospective-honors-dali-in-spain.html|url-status=live}}</ref> | |||
* '''1982''': Created 1st Marquess of Dalí of Púbol, by ]<ref name=":7" /> | |||
== Selected works == | |||
The largest collections of Dalí's work are at the ] in Figueres, Catalonia, Spain, followed by the ] in ], Florida, which contains the collection of ]. It holds over 1,500 works from Dalí. Other particularly significant collections include the ] in Madrid and the Salvador Dalí Gallery in ], California. ] in ], Paris, France, as well as the ] in London, England, contain a large collection of his drawings and sculptures. | |||
{{Main|List of works by Salvador Dalí}} | |||
Dalí produced over 1,600 paintings and numerous graphic works, sculptures, three-dimensional objects, and designs.<ref>Descharnes, Robert and Néret, Giles, ''Dalí'', Taschen, 2001 – 2007</ref> Some of his major works are: | |||
* {{Lang|fr|]}} (''An Andalusian Dog'') (1929) (film in collaboration with ]) | |||
The unlikeliest venue for Dalí's work was the ] jail in New York City; a sketch of the ] he donated to the jail hung in the inmate dining room for 16 years before it was moved to the prison lobby for safekeeping. Ironically, the drawing was stolen from that location in March 2003 and has not been recovered.<ref name="jail" /> | |||
* '']'' (1929) | |||
* '']'' (''The Golden Age'') (1930) (film in collaboration with Luis Buñuel) | |||
* '']'' (1931) | |||
* '']'' (1936) | |||
* '']'' (1936) | |||
* '']'' (1937) | |||
* '']'' (1937) | |||
* '']'' (1937) | |||
* ] (1944) | |||
* '']'' (1949) | |||
* '']'' (c. 1954) (also known as Hypercubic Christ) | |||
* '']'' (1954) | |||
* '']'' (1958) | |||
* ] (c. 1965) | |||
* '']'' (1970) | |||
==Dalí museums and permanent exhibitions== | == Dalí museums and permanent exhibitions == | ||
* ] – ], ], Spain | |||
* ] - ], Catalonia, Spain | |||
* ] - ], Catalonia, Spain | |||
* ] – ], US | |||
* ] – ], Italy | |||
* ] – ], France | |||
* , permanent exhibition - ], Germany | |||
* , permanent exhibition - ], Belgium | |||
* : Salvador Dalí Private Exhibition - ], Finland | |||
* ] – ], Catalonia, Spain, holds the largest collection of Dalí's work | |||
==Major temporary exhibitions== | |||
* ] (Reina Sofia Museum) – Madrid, Spain, holds a significant collection | |||
<!-- Reference the exhibition catalog and/or exhibition website, if possible --> | |||
* ] – ], Catalonia, Spain | |||
* ''The Dalí Renaissance: New Perspectives on His Life and Art after 1940'' (2005) ]<ref name="Taylor"/> | |||
* ] – ], contains the collection of ], and over 1500 works by Dalí, including seven large "masterworks". | |||
==Gallery== | == Gallery == | ||
<!-- NOTE TO EDITORS: Reproduction rights to Dalí images are tightly controlled by his estate. Images of Dalí's work may only be used in Misplaced Pages subject to certain restrictions, which should be understood before adding them to this article. The scarcity of images of Dalí's art in this article is largely due to these restrictions. --> | |||
<gallery> | |||
<gallery mode="packed"> | |||
File:Dalí. Gala.JPG|''Gala in the Window'' (1933)<br />] | |||
File: |
File: Dalí. Gala.JPG|''Gala in the Window'' (1933), ] | ||
File: Salvador Dali The Rainbow 1972.jpg|'' The Rainbow'' (1972), ] | |||
File:Dalí.Rinoceronte.JPG|''Rinoceronte vestido con puntillas'' (1956)<br />] | |||
File: |
File:Dalí.Rinoceronte.JPG|''Rinoceronte vestido con puntillas'' (1956), ] | ||
File:Plaza de Dalí (Madrid) 08.jpg|Plaza de Dalí (Dalí Square), Madrid | |||
File:Dalí.Perseo.JPG|''Perseo'' ('']'') <br />] | |||
File:Children-at-Dali-exibition.jpg|Children at Dalí exhibition in ], |
File:Dalí.Perseo.JPG|''Perseo'' ('']''), Marbella | ||
File:Children-at-Dali-exibition.jpg|Children at Dalí exhibition in ], Istanbul | |||
</gallery> | </gallery> | ||
==See also== | == See also == | ||
{{Misplaced Pages books|Key artists}} | |||
* '']'' | |||
* ] | * ] | ||
* ] | |||
==Notes== | ==Notes== | ||
{{Notelist}} | |||
{{Reflist|colwidth=30em}} | |||
==References== | ==References== | ||
{{Reflist}} | |||
* Linde Sabler. "Dalí". London: Haus Publishing, 2004 (paperback, ISBN 978-1-904341-75-8). | |||
* interviewed by ] on ''The Mike Wallace Interview'' April 19, 1958. | |||
== Further reading == | |||
==External links== | |||
Important books by or about Salvador Dalí readily available in English include: | |||
{{Commons}} | |||
{{Wikiquote}} | |||
* Ades, Dawn, ''Salvador Dalí'', Thames and Hudson, 1995 (2nd ed.) | |||
;Biographies and news | |||
* Dalí, Salvador, ''Oui: the paranoid-critical revolution: writings 1927–1933,'' (edited by Robert Descharnes, translated by Yvonne Shafir), Boston: Exact Change, 1998 | |||
* | |||
*Dalí, Salvador, ''The Secret Life of Salvador Dalí'', New York, Dover, 1993 (translated by Haakon M. Chevalier, first published 1942) | |||
* —Interview and bank advertisement. | |||
* Dalí, Salvador, ''The Diary of a Genius'', London, Hutchinson, 1990 (translated by Richard Howard, first published 1964) | |||
* – A collection of interviews and footage of Dalí in the French television | |||
* Dalí, Salvador, ''The Unspeakable Confessions of Salvador Dalí'', London, Quartet Books, 1977 (first published 1973) | |||
* Descharnes, Robert, ''Salvador Dalí'' (translated by Eleanor R. Morse), New York, Abradale Press, 1993 | |||
* Gibson, Ian, ''The Shameful Life of Salvador Dalí'', London, Faber and Faber, 1997 | |||
* Shanes, Eric, ''Salvador Dalí'', Parkstone International, 2014 | |||
== External links == | |||
{{Sister project links|d=Q5577|c=Category:Salvador Dalí|q=Salvador Dalí|b=no|wikt=no|s=no|v=no|voy=no|m=no|mw=no|species=no|n=no}} | |||
* | |||
*{{Cite web |last=Morley |first=Sarah |title=Big Bold Botanicals |url=https://www.sl.nsw.gov.au/blogs/big-bold-botanicals |website=State Library of NSW|date=23 February 2022 }} | |||
* | |||
* |
* | ||
* {{cite web|url=http://www.ubu.com/sound/dali.html |website=UbuWeb|title=Sound: Salvador Dalí}} Interview and bank advertisement. | |||
* | |||
* {{cite web|url=https://www.ina.fr/recherche?q=Salvador+Dali|title=Video: Salvador Dalí |website=INA Archives}} A collection of interviews and footage of Dalí in the French television | |||
* {{MoMA artist|1364}} | |||
* 15 December 2015. Harry Ransom Center, the ] | |||
* | |||
* – ] BBC interview, first transmitted 4 May 1955 | |||
* | |||
* at LikeTelevision | |||
* | |||
* | |||
* Kurutz, Steven, , ''The Wall Street Journal'' Speakeasy blog, January 11, 2011, 4:46 pm ET. Interview with ] (]) museum director Dr. Hank Hine about new building. | |||
* . | |||
* | |||
* | |||
* | |||
{{Salvador Dalí|state=expanded}} | |||
;Exhibitions | |||
{{Surrealism}} | |||
* — ], the permanent exhibition in France (Museum & Dalí Fine Art Galleries) | |||
{{mathematical art}} | |||
* | |||
{{Authority control (arts)|country=ES}} | |||
* in ] | |||
* | |||
* ULAN Full Record Display for Salvador Dalí. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California. | |||
{{DEFAULTSORT:Dalí, Salvador}} | |||
{{Use dmy dates|date=July 2011}} | |||
{{Authority control}} | |||
{{Salvador Dalí}} | |||
{{Surrealists|mode=collapsed}} | |||
{{DEFAULTSORT:Dali, Salvador}} | |||
] | ] | ||
] | ] | ||
] | ] | ||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | |||
] | ] | ||
] | |||
] | ] | ||
] | ] | ||
] | |||
] | |||
] | ] | ||
] | ] | ||
] | ] | ||
] | ] | ||
] | ] | ||
] | ] | ||
] | |||
] | ] | ||
] | ] | ||
] | |||
] | ] | ||
] | ] | ||
] | |||
] |
Latest revision as of 23:02, 28 November 2024
Spanish surrealist artist (1904–1989) "Dalí" redirects here. For other uses, see Salvador Dalí (disambiguation) and Dalí (disambiguation).
The Most ExcellentSalvador DalígcYC | |
---|---|
Dalí in 1939 | |
Born | Salvador Domingo Felipe Jacinto Dalí Doménech (1904-05-11)11 May 1904 Figueres, Catalonia, Spain |
Died | 23 January 1989(1989-01-23) (aged 84) Figueres, Catalonia, Spain |
Resting place | Crypt at Dalí Theatre and Museum, Figueres |
Education | San Fernando School of Fine Arts, Madrid, Spain |
Known for | Painting, drawing, photography, sculpture, writing, film, and jewelry |
Notable work |
|
Movement | Cubism, Dada, Surrealism |
Spouse |
Gala Dalí
(m. 1934; died 1982) |
Signature | |
Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol gcYC (11 May 1904 – 23 January 1989), known as Salvador Dalí (/ˈdɑːli, dɑːˈliː/ DAH-lee, dah-LEE; Catalan: [səlβəˈðo ðəˈli]; Spanish: [salβaˈðoɾ ðaˈli]), was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work.
Born in Figueres in Catalonia, Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age, he became increasingly attracted to Cubism and avant-garde movements. He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments.
Dalí's artistic repertoire included painting, sculpture, film, graphic arts, animation, fashion, and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays, and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial. His life and work were an important influence on other Surrealists, pop art, popular culture, and contemporary artists such as Jeff Koons and Damien Hirst.
There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida, U.S.
Biography
Early life
Salvador Dalí was born on 11 May 1904, at 8:45 am, on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain. Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950) was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921), who encouraged her son's artistic endeavors. In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10). Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descendants of the Moors.
Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí said of him, " resembled each other like two drops of water, but we had different reflections." He "was probably the first version of myself but conceived too much in the absolute". Images of his brother would reappear in his later works, including Portrait of My Dead Brother (1963).
Dalí also had a sister, Ana María, who was three years younger, and whom Dalí painted 12 times between 1923 and 1926.
His childhood friends included future FC Barcelona footballers Emili Sagi-Barba and Josep Samitier. During holidays at the Catalan resort town of Cadaqués, the trio played football together.
Dalí attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on a summer vacation trip 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 Theatre in Figueres in 1918, a site he would return to decades later. In early 1921 the Pichot family introduced Dalí to Futurism. That same year, Dalí's uncle Anselm Domènech, who owned a bookshop in Barcelona, supplied him with books and magazines on Cubism and contemporary art.
On 6 February 1921, Dalí's mother died of uterine cancer. Dalí was 16 years old and 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 the death of Dali's mother, Dalí's father married her sister. Dalí did not resent this marriage, because he had great love and respect for his aunt.
Madrid, Barcelona and Paris
In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts). A lean 1.72 metres (5 ft 7+3⁄4 in) tall, Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century.
At the Residencia, he became close friends with Pepín Bello, Luis Buñuel, Federico García Lorca, and others associated with the Madrid avant-garde group Ultra. The friendship with Lorca had a strong element of mutual passion, but Dalí said he rejected the poet's sexual advances. Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at the hands of Nationalist forces in 1936 at the beginning of the Spanish Civil War.
Also in 1922, he began what would become a lifelong relationship with the Prado Museum, which he felt was, 'incontestably the best museum of old paintings in the world.' Each Sunday morning, Dalí went to the Prado to study the works of the great masters. 'This was the start of a monk-like period for me, devoted entirely to solitary work: visits to the Prado, where, pencil in hand, I analyzed all of the great masterpieces, studio work, models, research.'
Those paintings by Dalí in which he experimented with Cubism earned him the most attention from his fellow students, since there were no Cubist artists in Madrid at the time. Cabaret Scene (1922) is a typical example of such work. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including Dada and Futurism. One of his earliest works to show a strong Futurist and Cubist influence was the watercolor Night-Walking Dreams (1922). At this time, Dalí also read Freud and Lautréamont who were to have a profound influence on his work.
In May 1925 Dalí exhibited eleven works in a group exhibition held by the newly formed Sociedad Ibérica de Artistas in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. Several leading critics praised his work. Dalí held his first solo exhibition at Galeries Dalmau in Barcelona, from 14 to 27 November 1925. This exhibition, before his exposure to Surrealism, included twenty-two works and was a critical and commercial success.
In April 1926 Dalí made his first trip to Paris where he met Pablo Picasso, whom he revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who later introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró. Dalí was also influenced by the work of Yves Tanguy, and he later allegedly told Tanguy's niece, "I pinched everything from your uncle Yves."
Dalí left the Royal Academy in 1926, shortly before his final exams. His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926.
Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic Sebastià Gasch [es]. The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with Composition with Three Figures (Neo-Cubist Academy) singled out for particular attention.
From 1927 Dalí's work became increasingly influenced by Surrealism. Two of these works, Honey is Sweeter than Blood (1927) and Gadget and Hand (1927), were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, Honey is Sweeter than Blood, as "equidistant between Cubism and Surrealism". The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among the public and debate among critics about whether Dalí had become a Surrealist.
Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work. He submitted Dialogue on the Beach (Unsatisfied Desires) (1928) to the Barcelona Autumn Salon for 1928 but the work was rejected because "it was not fit to be exhibited in any gallery habitually visited by the numerous public little prepared for certain surprises." The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dalí.
Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by 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 Zurbarán, Vermeer and Velázquez. Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works.
In the mid-1920s Dalí grew a neatly trimmed mustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter Diego Velázquez, and this mustache became a well known Dalí icon.
1929 to 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. In August 1929, Dalí met his lifelong muse and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet Paul Éluard.
In works such as The First Days of Spring, The Great Masturbator and The Lugubrious Game Dalí continued his exploration of the themes of sexual anxiety and unconscious desires. Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, André Breton described Dalí's new work as "the most hallucinatory that has been produced up to now". The exhibition was a commercial success but the critical response was divided. In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his 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 final 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 28 December 1929. His father told him that he would be disinherited and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.
In 1931, Dalí painted one of his most famous works, The Persistence of Memory, which developed 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 other limp watches shown being devoured by ants.
Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932. The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies. Dalí's last, and largest, the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings, and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament". Dalí's first New York exhibition was held at Julien Levy's gallery in November–December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The New Yorker critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares".
Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris. They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell. In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala, who herself engaged in extra-marital affairs, seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of her. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.
Dalí's first visit to the United States in November 1934 attracted widespread press coverage. His second New York exhibition was held at the Julien Levy Gallery in November–December 1934 and was again a commercial and critical success. Dalí delivered three lectures on Surrealism at the Museum of Modern Art (MoMA) and other venues during which he told his audience for the first time that "he only difference between me and a madman is that I am not mad." The heiress Caresse Crosby, the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head. A Paris newspaper later claimed that the Dalís had dressed as the Lindbergh baby and his kidnapper, a claim which Dalí denied.
While the majority of the Surrealist group 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 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. Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group. To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist."
In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, titled Fantômes paranoiacs 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."
Dalí's first solo London exhibition was held at the Alex, Reid, and Lefevre Gallery the same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although the Daily Telegraph critic wrote: "These pictures from the subconscious reveal so skilled a craftsman that the artist's return to full consciousness may be awaited with interest."
In December 1936 Dalí participated in the Fantastic Art, Dada, Surrealism exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The painting Soft Construction with Boiled Beans (Premonition of Civil War) (1936) attracted particular attention. Dalí later described it as, "a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of auto-strangulation". On 14 December, Dalí, aged 32, was featured on the cover of Time magazine.
From 1933 Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice. From 1936 Dalí's main patron in London was the wealthy Edward James who would support him financially for two years. One of Dalí's most important paintings from the period of James' patronage was The Metamorphosis of Narcissus (1937). They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.
Dalí was in London when the Spanish Civil War broke out in July 1936. When he later learned that his friend Lorca had been executed by Nationalist forces, Dalí's claimed response was to shout: "Olé!" Dalí was to include frequent references to the poet in his art and writings for the remainder of his life. Nevertheless, Dalí avoided taking a public stand for or against the Republic for the duration of the conflict.
In January 1938, Dalí unveiled Rainy Taxi, a three-dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within the taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organized by André Breton and Paul Éluard. The Exposition was designed by artist Marcel Duchamp, who also served as host.
In March that year, Dalí met Sigmund Freud thanks to Stefan Zweig. As Dalí sketched Freud's portrait, Freud whispered, "That boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero. The following day Freud wrote to Zweig "...until now I have been inclined to regard the Surrealists, who have apparently adopted me as their patron saint, as complete fools.....That young Spaniard, with his candid fanatical eyes and his undeniable technical mastery, has changed my estimate. It would indeed be very interesting to investigate analytically how he came to create that picture ."
In September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. Life reported that no exhibition in New York had been so popular since Whistler's Mother was shown in 1934.
At the 1939 New York World's Fair, Dalí debuted his Dream of Venus Surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, mermaids, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman. Dalí was angered by changes to his designs, railing against mediocrities who thought that "a woman with the tail of a fish is possible; a woman with the head of a fish impossible."
Soon after Franco's victory in the Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism and praising Catholicism and the Falange. As a result, Buñuel broke off relations with Dalí.
In the May issue of the Surrealist magazine Minotaure, André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and that the over-refinement of his paranoiac-critical method was a repudiation of Surrealist automatism. This led many Surrealists to break off relations with Dalí. In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí". This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune.
World War II
The outbreak of World War II in September 1939 saw the Dalís in France. Following the German invasion, they were able to escape because on 20 June 1940 they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the Monterey Peninsula, California.
Dalí spent the winter of 1940–41 at Hampton Manor, the residence of Caresse Crosby, in Caroline County, Virginia, where he worked on various projects including his autobiography and paintings for his upcoming exhibition.
Dalí announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April–May 1941. The exhibition included nineteen paintings (among them Slave Market with the Disappearing Bust of Voltaire and The Face of War) and other works. In his catalog essay and media comments, Dalí proclaimed a return to form, control, structure and the Golden Section. Sales however were disappointing and the majority of critics did not believe there had been a major change in Dalí's work.
On 2 September 1941, he hosted A Surrealistic Night in an Enchanted Forest in Monterey, a charity event which attracted national attention but raised little money for charity.
The Museum of Modern Art held two major, simultaneous retrospectives of Dalí and Joan Miró from November 1941 to February 1942, Dalí being represented by forty-two paintings and sixteen drawings. Dalí's work attracted significant attention of critics and the exhibition later toured eight American cities, enhancing his reputation in America.
In October 1942, Dalí's autobiography, The Secret Life of Salvador Dalí was published simultaneously in New York and London and was reviewed widely by the press. Time magazine's reviewer called it "one of the most irresistible books of the year". George Orwell later wrote a scathing review in the Saturday Book. A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible for the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel resigning his position at MoMA in 1943 under pressure from the State Department. Dalí also published a novel Hidden Faces in 1944 with less critical and commercial success.
In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943 Dalí continued his attack on the Surrealist movement, writing: "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 ". The critical response to the society portraits in the exhibition, however, was generally negative.
In November–December 1945 Dalí exhibited new work at the Bignou Gallery in New York. The exhibition included eleven oil paintings, watercolors, drawings, and illustrations. Works included Basket of Bread, Atomic and Uranian Melancholic Ideal, and My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae of a Column, Sky and Architecture. The exhibition was notable for works in Dalí's new classicism style and those heralding his "atomic period".
During the war years, Dalí was also engaged in projects in various other fields. He executed designs for a number of ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, and The Cafe of Chinitas (all 1944). In 1945 he created the dream sequence for Alfred Hitchcock's film Spellbound. He also produced artwork and designs for products such as perfumes, cosmetics, hosiery and ties.
Postwar in United States (1946–48)
In 1946, Dalí worked with Walt Disney and animator John Hench on an unfinished animated film Destino.
Dalí exhibited new work at the Bignou Gallery from November 1947 to January 1948. The 14 oil paintings and other works in the exhibition reflected Dalí's increasing interest in atomic physics. Notable works included Dematerialization Near the Nose of Nero (The Separation of the Atom), Intra-Atomic Equilibrium of a Swan's Feather, and a study for Leda Atomica. The proportions of the latter work were worked out in collaboration with a mathematician.
In early 1948, Dalí's 50 Secrets of Magic Craftsmanship was published. The book was a mixture of anecdotes, practical advice on painting, and Dalínian polemics.
Later years in Spain
In 1948, Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades, they would spend most of their time there, spending winters in Paris and New York. Dalí's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life. In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain exhibition organized by Marcel Duchamp in New York. Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".
In December 1949 Dalí's sister Anna Maria published her book Salvador Dalí Seen by his Sister. Dalí was angered by passages that he considered derogatory towards his wife Gala and broke off relations with his family. When Dalí's father died in September 1950 Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.
As Dalí moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting. In 1949 he painted a study for The Madonna of Port Lligat (first version, 1949) and showed it to Pope Pius XII during an audience arranged to discuss Dalí 's marriage to Gala. This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism", a fusion of Einsteinian physics, classicism, and Catholic mysticism. In paintings such as The Madonna of Port Lligat, The Christ of Saint John on the Cross and The Disintegration of the Persistence of Memory, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics. His later Nuclear Mysticism works included La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).
Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and rhinoceros horn shapes in works from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. Dalí was also fascinated by the Tesseract (a four-dimensional cube), using it, for example, in Crucifixion (Corpus Hypercubus).
Dalí had been extensively using optical illusions such as double images, anamorphosis, negative space, visual puns and trompe-l'œil since his Surrealist period and this continued in his later work. At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings. He also experimented with the bulletist technique pointillism, enlarged half-tone dot grids and stereoscopic images. He was among the first artists to employ holography in an artistic manner. In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.
In 1960, Dalí began work on his Theatre-Museum in his home town of Figueres. It was his largest single project and a main focus of his energy through to 1974, when it opened. He continued to make additions through the mid-1980s.
In 1955, Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse, and model. At a French nightclub in 1965 Dalí met Amanda Lear, a fashion model then known as Peki Oslo. Lear became his protégée and one of his muses. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.
Final years and death
In 1968, Dalí bought a castle in Púbol for Gala, and from 1971 she would retreat there for weeks at a time, Dalí having agreed not to visit without her written permission. His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.
In 1980, at age 76, Dalí's health deteriorated sharply and he was treated for depression, drug addiction, and Parkinson-like symptoms, including a severe tremor in his right arm. There were also allegations that Gala had been supplying Dalí with pharmaceuticals from her own prescriptions.
Gala died on 10 June 1982, at the age of 87. After her death, Dalí moved from Figueres to the castle in Púbol, where she was entombed.
In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbol (Marquess of Dalí of Púbol) in the nobility of Spain, Púbol being where Dalí then lived. The title was initially hereditary, but at Dalí's request was changed to life-only in 1983.
In May 1983, what was said to be Dalí's last painting, The Swallow's Tail, was revealed. The work was heavily influenced by the mathematical catastrophe theory of René Thom. However, some critics have questioned how Dalí could have executed a painting with such precision given the severe tremor in his painting arm.
From early 1984 Dalí's depression worsened and he refused food, leading to severe undernourishment. Dalí had previously stated his intention to put himself into a state of suspended animation as he had read that some microorganisms could do. In August 1984 a fire broke out in Dalí's bedroom and he was hospitalized with severe burns. Two judicial inquiries found that the fire was caused by an electrical fault and no findings of negligence were made. After his release from hospital Dalí moved to the Torre Galatea, an annex to the Dalí Theatre-Museum.
There have been allegations that Dalí was forced by his guardians to sign blank canvases that could later be used in forgeries. It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death. As a result, art dealers tend to be wary of late graphic works attributed to Dalí.
In July 1986, Dalí had a pacemaker implanted. On his return to his Theatre-Museum he made a brief public appearance, saying:
When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.
In November 1988, Dalí entered hospital with heart failure. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí. Dalí gave the king a drawing, Head of Europa, which would turn out to be Dalí's final drawing.
On the morning of 23 January 1989, Dalí died of cardiac arrest at the age of 84. He is buried in the crypt below the stage of his Theatre-Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only 450 metres (1,480 ft) from the house where he was born.
Exhumation
On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dalí's body in order to obtain samples for a paternity suit. Joan Manuel Sevillano, manager of the Fundación Gala Salvador Dalí (The Gala-Salvador Dalí Foundation), denounced the exhumation as inappropriate. The exhumation took place on the evening of 20 July, and his DNA was extracted. On 6 September 2017 the Foundation stated that the tests carried out proved conclusively that Dalí and the claimant were not related. On 18 May 2020 a Spanish court dismissed an appeal from the claimant and ordered her to pay the costs of the exhumation.
Symbolism
From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or Freudian interpretation (Dalí read Freud in the 1920s) others (such as locusts, rotting donkeys, and sea urchins) are idiosyncratic and have been variously interpreted. Some commentators have cautioned that Dalí's own comments on these images are not always reliable.
Food
Food and eating have a central place in Dalí's thoughts and work. He associated food with beauty and sex and was obsessed with the image of the female praying mantis eating her mate after copulation. Bread was a recurring image in Dalí's art, from his early work The Basket of Bread to later public performances such as in 1958 when he gave a lecture in Paris using a 12-meter-long baguette an illustrative prop. He saw bread as "the elementary basis of continuity" and "sacred subsistence".
The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love. It appears in The Great Masturbator, The Metamorphosis of Narcissus and many other works. There are also giant sculptures of eggs in various locations at Dalí's house in Portlligat as well as at the Dalí Theatre-Museum in Figueres.
The radial symmetry of the sea urchin intrigued Dalí. He had enjoyed eating them with his father at Cadaqués and, along with other foods, they became a recurring theme in his work.
The famous "melting watches" that appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating Camembert cheese.
Animals
The rhinoceros and rhinoceros horn shapes began to proliferate in Dalí's work from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary. However, he also used it as an obvious phallic symbol as in Young Virgin Auto-Sodomized by the Horns of Her Own Chastity.
Various other animals appear throughout Dalí's work: rotting donkeys and ants have been interpreted as pointing to death, decay, and sexual desire; the snail as connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met him); and locusts as a symbol of waste and fear. The elephant is also a recurring image in his work; for example, Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening. The elephants are inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk.
Science
Dalí's life-long interest in science and mathematics was often reflected in his work. His soft watches have been interpreted as references to Einstein's theory of the relativity of time and space. Images of atomic particles appeared in his work soon after the atomic bombing of Hiroshima and Nagasaki and strands of DNA appeared from the mid-1950s. 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 have transcended the one of psychology. My father today is Dr. Heisenberg."
The Disintegration of the Persistence of Memory (1954) harks back to The Persistence of Memory (1931) and in portraying that painting in fragmentation and disintegration has been interpreted as a reference to Heisenberg's quantum mechanics.
Endeavors outside painting
Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theater, fashion, and photography, among other areas.
Sculptures and other objects
From the early 1930s, Dalí was an enthusiastic proponent of the proliferation of three-dimensional Surrealist Objects to subvert perceptions of conventional reality, writing: "museums will fast fill with objects whose uselessness, size and crowding will necessitate the construction, in deserts, of special towers to contain them." His more notable early objects include Board of Demented Associations (1930–31), Retrospective Bust of a Woman (1933), Venus de Milo with Chest of Drawers (1936) and Aphrodisiac Dinner Jacket (1936). Two of the most popular objects of the Surrealist movement were Lobster Telephone (1936) and Mae West Lips Sofa (1937) which were commissioned by art patron Edward James. Lobsters and telephones had strong sexual connotations for Dalí who 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 home. The Mae West Lips Sofa was shaped after the lips of actress Mae West, who was previously the subject of Dalí's watercolor, The Face of Mae West which may be used as a Surrealist Apartment (1934–35). In December 1936 Dalí sent Harpo Marx a Christmas present of a harp with barbed-wire strings.
After World War II Dalí authorized many sculptures derived from his most famous works and images. In his later years other sculptures also appeared, often in large editions, whose authenticity has sometimes been questioned.
Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry, many of which are intricate, some containing moving parts. The most famous assemblage, The Royal Heart, is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, created in such a way that the center "beats" like a heart.
Dalí ventured into industrial design in the 1970s with a 500-piece run of Suomi tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's "Studio Linie". In 1969 he designed the Chupa Chups logo. He facilitated the design of the advertising campaign for the 1969 Eurovision Song Contest and created a large on-stage metal sculpture that stood at the Teatro Real in Madrid.
Theater and film
In theater, Dalí designed the scenery for Federico 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. He executed designs for a number of other ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, The Cafe of Chinitas (all 1944) and The Three-Cornered Hat (1949).
Dalí became interested in film when he was young, going to the theater most Sundays. By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves" and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short Un Chien Andalou (1929) and the feature film L'Age d'Or (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of Un Chien Andalou, but there is controversy over the extent of Dalí's contribution to L'Age d'Or. Un Chien Andalou features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality. L'Age d'Or is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown. Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "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."
After he collaborated with Buñuel, Dalí worked on several unrealized film projects including a published script for a film, Babaouo (1932); a scenario for Harpo Marx called Giraffes on Horseback Salad (1937); and an abandoned dream sequence for the film Moontide (1942). In 1945 Dalí created the dream sequence in Hitchcock's Spellbound, but neither Dalí nor the director was satisfied with the result. Dalí also worked with Walt Disney and animator John Hench on the short film Destino in 1946. After initially being abandoned, the animated film was completed in 2003 by Baker Bloodworth and Walt Disney's nephew Roy E. Disney. Between 1954 and 1961 Dalí worked with photographer Robert Descharnes on The Prodigious History of the Lacemaker and the Rhinoceros, but the film was never completed.
In the 1960s Dalí worked with some directors on documentary and performance films including with Philippe Halsman on Chaos and Creation (1960), Jack Bond on Dalí in New York (1966) and Jean-Christophe Averty on Soft Self-Portrait of Salvador Dalí (1966).
Dalí collaborated with director José-Montes Baquer on the pseudo-documentary film Impressions of Upper Mongolia (1975), in which Dalí narrates a story about an expedition in search of giant hallucinogenic mushrooms. In the mid-1970s film director Alejandro Jodorowsky initially cast Dalí in the role of the Padishah Emperor in a production of Dune, based on the novel by Frank Herbert. However, Jodorowsky changed his mind after Dalí publicly supported the execution of alleged ETA terrorists in December 1975. The film was ultimately never made.
In 1972 Dalí began to write the scenario for an opera-poem called Être Dieu (To Be God). The Spanish writer Manuel Vázquez Montalbán wrote the libretto and Igor Wakhévitch the music. The opera poem was recorded in Paris in 1974 with Dalí in the role of the protagonist.
Fashion and photography
Fashion designer Elsa Schiaparelli worked with Dalí from the 1930s and commissioned him 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. In 1950, Dalí created a special "costume for the year 2045" with Christian Dior.
Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman. Halsman produced the Dalí Atomica series (1948) – inspired by Dalí's 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".
Architecture
Dalí's architectural achievements include his Port Lligat house near Cadaqués, as well as his Theatre Museum in Figueres. A major work outside of Spain was the temporary Dream of Venus Surrealist pavilion at the 1939 New York World's Fair, which contained several unusual sculptures and statues, including live performers posing as statues. In 1958, Dalí completed Crisalida, a temporary installation promoting a drug, which was exhibited at a medical convention in San Francisco.
Literary works
In his only novel, Hidden Faces (1944), Dalí describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolizes the decadence of the 1930s. The Comte de Grandsailles and Solange de Cléda pursue a love affair, but interwar political turmoil and other vicissitudes drive them apart. It is variously set in Paris, rural France, Casablanca in North Africa, and Palm Springs in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured U.S. fighter pilot. The novel was written in New York, and translated by Haakon Chevalier.
His other literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1966), and Oui: The Paranoid-Critical Revolution (1971). Dalí also published poetry, essays, art criticism, and a technical manual on art.
Graphic arts
Dalí worked extensively in the graphic arts, producing many drawings, etchings, and lithographs. Among the most notable of these works are forty etchings for an edition of Lautréamont's The Songs of Maldoror (1933) and eighty drypoint reworkings of Goya's Caprichos (1973–77). From the 1960s, however, Dalí would often sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.
Book illustrations were an important part of Dalí's work throughout his career. His first book illustration was for the 1924 publication of the Catalan poem Les bruixes de Llers [ca] ("The Witches of Liers") by his friend and schoolmate, poet Carles Fages de Climent. His other notable book illustrations, apart from The Songs of Maldoror, include 101 watercolors and engravings for The Divine Comedy (1960) and 100 drawings and watercolors for The Arabian Nights (1964).
Politics and personality
Politics and religion
As a youth, Dalí identified as communist, anti-monarchist and anti-clerical, and in 1924 he was briefly imprisoned by the Primo de Rivera dictatorship as a person "intensely liable to cause public disorder". When Dalí officially joined the Surrealist group in 1929 his political activism initially intensified. In 1931, he became involved in the Workers' and Peasants' Front, delivering lectures at meetings and contributing to their party journal. However, as political divisions within the Surrealist group grew, Dalí soon developed a more apolitical stance, refusing to publicly denounce fascism. In 1934, André Breton accused him of being sympathetic to Hitler and Dalí narrowly avoided being expelled from the group. In 1935 Dalí wrote a letter to Breton suggesting that non-white races should be enslaved. After the outbreak of the Spanish Civil War in 1936, Dalí avoided taking a public stand for or against the Republic. However, immediately after Franco's victory in 1939, Dalí praised Catholicism and the Falange and was expelled from the Surrealist group.
After Dalí's return to his native Catalonia in 1948, he publicly supported Franco's regime and announced his return to the Catholic faith. Dalí was granted an audience with Pope Pius XII in 1949 and with Pope John XXIII in 1959. He had official meetings with General Franco in June 1956, October 1968, and May 1974. In 1968, Dalí stated that on Franco's death there should be no return to democracy and Spain should become an absolute monarchy. In September 1975, Dalí publicly supported Franco's decision to execute three alleged Basque terrorists and repeated his support for an absolute monarchy, adding: "Personally, I'm against freedom; I'm for the Holy Inquisition." In the following days, he fled to New York after his home in Port Lligat was stoned and he had received numerous death threats. When King Juan Carlos visited the ailing Dalí in August 1981, Dalí told him: "I have always been an anarchist and a monarchist."
Dalí espoused a mystical view of Catholicism and in his later years he claimed to be a Catholic and an agnostic. He was interested in the writings of the Jesuit priest and philosopher Teilhard de Chardin and his Omega Point theory. Dalí's painting Tuna Fishing (Homage to Meissonier) (1967) was inspired by his reading of Chardin.
Sexuality
Dalí's sexuality had a profound influence on his work. He stated that as a child he saw a book with graphic illustrations of venereal diseases and this provoked a life-long disgust of female genitalia and a fear of impotence and sexual intimacy. Dalí frequently stated that his main sexual activity involved voyeurism and masturbation and his preferred sexual orifice was the anus. Dalí said that his wife Gala was the only person with whom he had achieved complete coitus. From 1927, Dalí's work featured graphic and symbolic sexual images usually associated with other images evoking shame and disgust. Anal and fecal imagery is prominent in his work from this time. Some of the most notable works reflecting these themes include The First Days of Spring (1929), The Great Masturbator (1929), and The Lugubrious Game (1929). Several of Dalí's intimates in the 1960s and 1970s have stated that he would arrange for selected guests to perform choreographed sexual activities to aid his voyeurism and masturbation.
Personality
Dalí was renowned for his eccentric and ostentatious behavior throughout his career. In 1941, the Director of Exhibitions and Publications at MoMA wrote: "The fame of Salvador Dalí has been an issue of particular controversy for more than a decade...Dalí's conduct may have been undignified, but the greater part of his art is a matter of dead earnest." When Dalí was elected to the French Academy of Fine Arts in 1979, one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries".
In 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí knocked over the projector in a rage. "My idea for a film is exactly that," he said shortly afterward, "I never wrote it down or told anyone, but it is as if he had stolen it!" In 1939, after creating a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window. In 1955, he delivered a lecture at the Sorbonne, arriving in a Rolls-Royce full of cauliflowers. To promote Robert Descharnes' 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.
After World War II, Dalí became one of the most recognized artists in the world, and his long cape, walking stick, haughty expression, and upturned waxed mustache became icons of his brand. His boastfulness and public declarations of his genius became essential elements of the public Dalí persona: "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".
Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France.
Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on The Tonight Show Starring Johnny Carson on 7 January 1963, The Mike Wallace Interview and the panel show What's My Line?. Dalí appeared on The Dick Cavett Show on 6 March 1970 carrying an anteater. He also appeared in numerous advertising campaigns such as Lanvin [fr] chocolates and Braniff International Airlines in 1968.
Legacy
Two major museums are devoted to Dalí's work: the Dalí Theatre-Museum in Figueres, Catalonia, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida, U.S.
Dalí's life and work have been an important influence on pop art, other Surrealists, and contemporary artists such as Jeff Koons and Damien Hirst. He has also had a continuing influence on contemporary culture. He has been portrayed on film by Robert Pattinson in Little Ashes (2008), by Adrien Brody in Midnight in Paris (2011), and by Ben Kingsley in Daliland. The Spanish television series Money Heist (2017–2021) includes characters wearing a costume of red jumpsuits and Dalí masks. The creator of the series stated that the Dalí mask was chosen because it was an iconic Spanish image. The Salvador Dalí Desert in Bolivia and the Dalí crater on the planet Mercury are named for him. The container ship MV Dali was also named after him in 2015.
The Gala-Salvador Dalí Foundation currently serves as his official estate. The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.
Honors
- 1964: Knight Grand Cross of the Order of Isabella the Catholic
- 1972: Associate member of the Royal Academy of Science, Letters and Fine Arts of Belgium
- 1978: Associate member of the Académie des Beaux-Arts of the Institut de France
- 1981: Knight Grand Cross of the Order of Charles III
- 1982: Created 1st Marquess of Dalí of Púbol, by King Juan Carlos
Selected works
Main article: List of works by Salvador DalíDalí produced over 1,600 paintings and numerous graphic works, sculptures, three-dimensional objects, and designs. Some of his major works are:
- Un Chien Andalou (An Andalusian Dog) (1929) (film in collaboration with Luis Buñuel)
- The Great Masturbator (1929)
- L'Age d'Or (The Golden Age) (1930) (film in collaboration with Luis Buñuel)
- The Persistence of Memory (1931)
- Lobster Telephone (1936)
- Soft Construction with Boiled Beans (Premonition of Civil War) (1936)
- Metamorphosis of Narcissus (1937)
- The Burning Giraffe (1937)
- Mae West Lips Sofa (1937)
- Dream Caused by the Flight of a Bee (1944)
- The Madonna of Port Lligat (1949)
- Crucifixion (Corpus Hypercubus) (c. 1954) (also known as Hypercubic Christ)
- Young Virgin Auto-Sodomized by the Horns of Her Own Chastity (1954)
- The Discovery of America by Christopher Columbus (1958)
- Perpignan Railway Station (c. 1965)
- The Hallucinogenic Toreador (1970)
Dalí museums and permanent exhibitions
- Dalí Theatre-Museum – Figueres, Catalonia, Spain, holds the largest collection of Dalí's work
- Museo Nacional Centro de Arte Reina Sofia (Reina Sofia Museum) – Madrid, Spain, holds a significant collection
- Salvador Dalí House Museum – Port Lligat, Catalonia, Spain
- Salvador Dalí Museum – St Petersburg, Florida, contains the collection of Reynolds and Eleanor Morse, and over 1500 works by Dalí, including seven large "masterworks".
Gallery
- Gala in the Window (1933), Marbella
- The Rainbow (1972), M.T. Abraham Foundation
- Rinoceronte vestido con puntillas (1956), Puerto José Banús
- Plaza de Dalí (Dalí Square), Madrid
- Perseo (Perseus), Marbella
- Children at Dalí exhibition in Sakıp Sabancı Museum, Istanbul
See also
Notes
- ^ Dalí's name varied over his life. His birth name was officially registered as Salvador Domingo Felipe Jacinto Dalí Doménech. His first names were in Spanish and his surnames castilianized despite being born in Catalonia, as at the time the Catalan language was banned from official acts. His complete name in Catalan is Salvador Domènec Felip Jacint Dalí i Domènech. In 1977 Catalan names were legalized, and he adopted the hybrid form (first names in Spanish, surnames in Catalan). This form and the purely Spanish and Catalan forms can all be seen in print today.
- In this Catalan name, the first or paternal surname is Dalí and the second or maternal family name is Domènech; both are generally joined by the conjunction "i".
- In isolation, Dalí is pronounced [dəˈli] in Catalan and [daˈli] in Spanish.
References
- "Boletín Oficial del Estado, the official gazette of the Spanish government". Archived from the original on 30 June 2012. Retrieved 31 July 2010.
- "Dalí" Archived 8 March 2016 at the Wayback Machine. Random House Webster's Unabridged Dictionary. "Dalí" Archived 29 August 2017 at the Wayback Machine. Merriam-Webster Dictionary.
- Gibson, Ian, The Shameful Life of Salvador Dalí, London, Faber and Faber, 1997, Chs 2, 3
- Gibson, Ian, The Shameful Life of Salvador Dali (1997)
- Saladyga, Stephen Francis (2006). "The Mindset of Salvador Dalí". Lamplighter. Niagara University. Archived from the original on 6 September 2006. Retrieved 22 July 2006.
- ^ Meisler, Stanley (April 2005). "The Surreal World of Salvador Dalí". Smithsonian.com. Smithsonian Magazine. Archived from the original on 18 May 2014. Retrieved 12 July 2014.
- ^ Gibson, Ian (1997), passim
- ^ Koons, Jeff (March 2005). "Who Paints Bread Better than Dali". Archived from the original on 9 June 2020. Retrieved 1 April 2020.
- ^ "Salvador Dalí's iconic Lobster Telephone acquired by National Galleries of Scotland". National Galleries Scotland. 17 December 2018. Archived from the original on 6 August 2020. Retrieved 20 May 2020.
- Gibson, Ian (1997) p. 22
- "Dalí recupera su casa natal, que será un museo en 2010". El País. 14 February 2008. Archived from the original on 2 July 2017. Retrieved 26 June 2017.
- Gibson, Ian (1997) pp. 6, 459, 633, 689
- ^ Llongueras, Lluís. (2004) Dalí, Ediciones B – Mexico. ISBN 84-666-1343-9.
- Gibson, Ian (1997) pp. 16, 82, 634, 644
- ^ Rojas, Carlos. Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait Archived 19 April 2016 at the Wayback Machine, Penn State Press (1993). ISBN 0-271-00842-3.
- Gibson, Ian (1997)
- Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p. 33
- Ian Gibson (1997). The Shameful Life of Salvador Dalí. W. W. Norton & Company. Archived from the original on 19 February 2017. Retrieved 12 February 2017. 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's family, the Domènech of Barcelona, had Jewish roots.
- ^ Gibson, Ian (1997) pp. 238–39
- ^ Dalí, Secret Life, p. 2
- Gibson, Ian (1997). p. 23
- Gibson, Ian (1997). p. 109
- Martín Otín, José Antonio (2011). "Un tanguito de arrabal". El fútbol tiene música. Córner. ISBN 978-84-15242-00-0. Archived from the original on 8 October 2021. Retrieved 13 September 2020.
- "Who was Salvador Dalí?|Collection|Morohashi Museum of Modern Art". dali.jp. Archived from the original on 15 December 2018. Retrieved 15 December 2018.
- Gibson, Ian (1997), pp. 78–81
- Gibson, Ian (1997) p. 82
- Dalí, Secret Life, pp. 152–53
- As listed in his prison record of 1924 Archived 25 February 2021 at the Wayback Machine, aged 20. However, his hairdresser and biographer, Luis Llongueras, stated Dalí was 1.74 metres (5 ft 8+1⁄2 in) tall.
- Gibson, Ian (1997), p. 90
- Gibson, Ian (1997), pp. 92–98
- 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.
- Bosquet, Alain, Conversations with Dalí Archived 28 July 2011 at the Wayback Machine, 1969. pp. 19–20. (PDF)
- "Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala – Salvador Dalí". Archived from the original on 15 July 2020. Retrieved 15 July 2020.
- "Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala – Salvador Dalí". Archived from the original on 15 July 2020. Retrieved 15 July 2020.
- Michael Elsohn Ross, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities Archived 6 August 2020 at the Wayback Machine, Chicago Review Press, 2003, p. 24. ISBN 1-61374-275-4
- Gibson, Ian (1997), pp. 97–98
- Gibson, Ian (1997), pp. 116–119
- Gibson, Ian (1997), pp. 123–25
- Fèlix Fanés, Salvador Dalí: The Construction of the Image, 1925–1930 Archived 22 April 2018 at the Wayback Machine, Yale University Press, 2007, ISBN 0-300-09179-6
- "Exposició Salvador Dalí, Galeries Dalmau, 14–28 November 1925, exhibition catalog". Archived from the original on 2 May 2018. Retrieved 24 May 2018.
- Gibson, Ian (1997), pp. 126–27
- Gibson, Ian (1997), pp. 130–31
- Gibson, Ian (1997), p. 163
- "Paintings Gallery No. 5". Dali-gallery.com. Archived from the original on 27 August 2010. Retrieved 22 August 2010.
- Elisenda Andrés Pàmies, Les Galeries Dalmau, un project de modernist a la Ciutat de Barcelona Archived 9 August 2017 at the Wayback Machine, 2012–13, Facultat d'Humanitats, Universitat Pompeu Fabra
- "Exposició de Salvador Dalí, Galeries Dalmau, Passeig de Gràcia, 31 December 1926 – 14 January 1927, exhibition catalog (other versions)". Archived from the original on 2 May 2018. Retrieved 24 May 2018.
- Gibson, Ian (1997), pp. 147–49
- Gibson, Ian (1997) p. 162
- Gibson, Ian (1997), p. 171
- Gibson, Ian (1997), p. 287
- Gibson, Ian (1997) pp. 186–190
- 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". Artcyclopedia.com. Archived from the original on 13 March 2014. Retrieved 22 August 2010.
- Roger Rothman, Tiny Surrealism: Salvador Dal and the Aesthetics of the Small Archived 6 August 2020 at the Wayback Machine, U of Nebraska Press, 2012. p. 202. ISBN 0-300-12106-7
- Salvador Dali and the Spanish Baroque: From Still Life to Velazquez Archived 6 August 2020 at the Wayback Machine, Salvado Dalí Museum, St. Petersburg, Fl. 2007
- Koller, Michael (January 2001). "Un Chien Andalou". Senses of Cinema (in French). Archived from the original on 25 December 2010. Retrieved 26 July 2006.
- Shelley, Landry. "Dalí Wows Crowd in Philadelphia" Archived 8 November 2017 at the Wayback Machine. Unbound (The College of New Jersey) Spring 2005. Retrieved on 22 July 2006.
- Gibson, Ian (1997) pp. 218–20
- Gibson, Ian (1997) pp. 206–08, 231–32
- ^ Gibson, Ian (1997) p. 237
- ^ "Gala Biography". Dalí. Gala-Salvador Dalí Foundation. Archived from the original on 26 June 2012. Retrieved 27 May 2012.
- Clocking in with Salvador Dalí: Salvador Dalí's Melting Watches Archived 21 September 2006 at the Wayback Machine (PDF) from the Salvador Dalí Museum. Retrieved on 19 August 2006.
- ^ Salvador Dalí, La Conquête de l'irrationnel (Paris: Éditions surréalistes, 1935), p. 25.
- Gibson, Ian (1997) pp. 279–283, 299–300
- Gibson, Ian (1997) pp. 314–15
- Gibson, Ian (1997), p. 316
- Gibson, Ian (1997) p. 323
- Gibson, Ian (1997) p. 492
- Gibson, Ian (1997) pp. 421–22, 508–10, 620–21
- Amengual, Margalida (14 December 2016). "An opera on the relationship between Salvador Dalí and Gala arrives at Barcelona's Liceu". Catalan News Agency (CNA). Intracatalònia, SA. Archived from the original on 20 December 2016. Retrieved 27 May 2012.
- Gibson, Ian (1997), pp. 336–41
- Gibson, Ian (1997), pp. 342–43
- Greeley, Robin Adèle (2006). Surrealism and the Spanish Civil War Archived 19 April 2016 at the Wayback Machine, Yale University Press. p. 81. ISBN 0-300-11295-5.
- Clements, Paul (2016). The Creative Underground : Art, Politics and Everyday Life. Taylor and Francis. ISBN 978-1-317-50128-2. Archived from the original on 6 February 2022. Retrieved 11 September 2017.
- Shanes, Eric (2012). The Life and Masterworks of Salvador Dalí Archived 9 February 2020 at the Wayback Machine. Parkstone. p. 53. ISBN 1-78042-879-0.
- Salvador Dalí, Louis Pauwels, Les passions Selon Dalí Archived 17 September 2018 at the Wayback Machine, Denoël, 1968
- Pierre Ajame, La Double vie de Salvador Dalí: récit Archived 17 September 2018 at the Wayback Machine, Éditions Ramsay, 1984, p. 125
- Jackaman, Rob. (1989) The Course of English Surrealist Poetry Since the 1930s Archived 19 April 2016 at the Wayback Machine, Lewiston, New York: Edwin Mellen Press. ISBN 0-88946-932-6.
- Gibson, Ian (1997) pp. 359–60
- Gibson, Ian (1997) pp. 358–59
- Gibson, Ian (1997). pp. 334, 364–67
- Gibson, Ian (1997) pp. 306–308
- "Salvador Dalí Lobster Telephone". National Gallery of Australia. August 1994. Archived from the original on 19 March 2017. Retrieved 23 June 2017.
- Gibson, Ian (1997), pp. 361–63
- ^ Gibson, Ian (1997) pp. 376–77, and passim
- "Salvador Dalí's Biography – Gala". salvador-dali.org. Salvador Dalí Foundation. Archived from the original on 6 November 2006. Retrieved 14 February 2015.
- Herbert, James D. (1998). Paris 1937. Cornell University Press. p. 27. ISBN 978-0-8014-3494-5. Retrieved 14 February 2015.
- Cohen-Solal, Annie (2010). Leo and His Circle. Alfred A. Knopf. ISBN 978-1-4000-4427-6. Archived from the original on 13 December 2013. Retrieved 14 February 2015.
- Rubin, William S. 1968. Dada and Surrealist Art. Harry N. Abrams, Inc., Publishers, New York. 525 pp.
- Salvador Dalí Exhibition, Exhibition Catalogue – 16 February through 15 May 2005
- Fischer, John. "Salvador Dalí Exhibition". Philadelphia Museum of Art. Archived from the original on 7 July 2011. Retrieved 12 May 2014.
- Gibson, Ian (1997) pp. 389–90
- ^ Schaffner, Ingrid (2002). Salvador Dalí's "Dream of Venus": the surrealist funhouse from the 1939 World's Fair. Photogr. by Eric Schaal (1. ed.). New York: Princeton Architectural Press. ISBN 978-1-56898-359-2.
- Gibson, Ian (1997), pp. 391–92
- ^ Gibson, Ian (1997), p. 395
- Gibson, Ian (1997), pp. 387, 396–97
- Gibson, Ian (1997), p. 453
- "Dalí". Sousa Mendes Foundation. 20 June 1940. Archived from the original on 2 November 2013. Retrieved 12 May 2014.
- Schmalz, David (25 February 2016). "A world-class Salvador Dalí art collection comes to Monterey". Monterey County Weekly. Archived from the original on 26 August 2018. Retrieved 6 June 2016.
- ^ Gibson, Ian (1997), pp. 411–12
- Crowder, Bland (31 January 2014). "¡Hola, Dalí!". Virginia Living. Cape Fear Publishing. Archived from the original on 1 July 2016. Retrieved 27 June 2016.
- Gibson, Ian (1997), pp. 404–05
- Gibson, Ian (1997) pp. 409–11
- Neal Hotelling (26 August 2022). "Call the sheriff, Dali's been robbed" (PDF). Carmel Pine Cone. Carmel-by-the-Sea, California. p. 23. Archived (PDF) from the original on 9 October 2022. Retrieved 26 August 2022.
- Soby, James Thrall. 1941. Salvador Dali: Paintings, Drawings, Prints. The Museum of Modern Art, New York. 87 pp.
- Sweeney, James Johnson. 1941. Joan Miro. The Museum of Modern Art, New York. 87 pp.
- Gibson, Ian (1997), pp. 413–16
- Gibson, Ian (1997), pp. 416–20.
- Orwell, George "Benefit of Clergy: Some Notes on Salvador Dalí" Archived 21 April 2016 at the Wayback Machine. theorwellprize.co.uk. Retrieved 24 February 2012.
- Luis Buñuel, My Last Sigh: The Autobiography of Luis Buñuel (Vintage, 1984) ISBN 0-8166-4387-3
- Gibson, Ian (1997) p. 419
- ^ Gibson, Ian (1997) pp. 424–30
- Descharnes, Robert and Nicolas. Salvador Dalí. New York: Konecky & Konecky, 1993. p. 35.
- Gibson, Ian (1997) p. 423
- Gibson, (Ian) (1997), pp. 434–36
- ^ Gibson, Ian (1997), pp. 431–43
- Gibson, Ian (1997) pp. 434–45
- Gibson, Ian (1997) pp. 430–31
- ^ Gibson, Ian (1997) pp. 436–38
- Gibson, Ian (1997) pp. 440–42
- Gibson, Ian (1997) pp. 442–44
- Gibson, Ian (1997) p. 470
- Ignacio Javier López [es]. The Old Age of William Tell (A study of Buñuel's Tristana). MLN 116 (2001): 295–314.
- Gibson, Ian (1997) pp. 497–98
- Gibson, Ian (1997), pp. 454–61
- Gibson, Ian (1997) pp. 450–53
- "Salvador Dalí Bio, Art on 5th". Archived from the original on 4 May 2006. Retrieved 22 July 2006.
- Gibson, Ian (1997) pp. 461–63
- ^ Elliott H. King in Dawn Ades (ed.), Dalí, Bompiani Arte, Milan, 2004, p. 456.
- ^ Ades, Dawn, ed. (2000). Dalí's optical illusions : . New Haven, Connecticut: Yale Univ. Press. ISBN 978-0-300-08177-0.
- "The Phantasmagoric Universe – Espace Dalí À Montmartre". Bonjour Paris (in French). Archived from the original on 28 May 2006. Retrieved 22 August 2006.
- The History and Development of Holography Archived 12 July 2011 at the Wayback Machine. Holophile. Retrieved on 22 August 2006.
- "Hello, Dalí". Carnegie Magazine. Archived from the original on 27 September 2006. Retrieved 22 August 2006.
- Pitxot, Antoni; Montse Aguer Teixidor; photography, Jordi Puig; translation, Steve Cedar (2007). The Dalí Theatre-Museum. Sant Lluís, Menorca: Triangle Postals. ISBN 978-84-8478-288-9.
- "Figueres: Teatre Museu Dalí – History". Fundació Gala-Salvador Dalí. 2010. Archived from the original on 3 April 2014. Retrieved 20 June 2010.
- Gibson, Ian (1997) pp. 483–97
- Prose, Francine. (2000) The Lives of the Muses: Nine Women and the Artists they Inspired Archived 18 April 2016 at the Wayback Machine. Harper Perennial. ISBN 0-06-055525-4.
- Lear, Amanda. (1986) My Life with Dalí. Beaufort Books. ISBN 0-8253-0373-7.
- Gibson, Ian (1997) pp. 574–79
- Gibson, Ian (1997) pp. 589–91
- ^ Excerpts from the BOE Archived 5 January 2012 at the Wayback Machine – Website Heráldica y Genealogía Hispana
- ^ Dalí as "Marqués de Dalí de Púbol" Archived 30 June 2012 at archive.today – Boletín Oficial del Estado, the official gazette of the Spanish government
- Gibson, Ian (1997) pp. 603–604
- Gibson, Ian (1997) pp. 602, 610
- "Salvador Dalí – Paths to Immortality". History of Art. Archived from the original on 31 July 2017. Retrieved 23 June 2017.
- Gibson, Ian (1997) pp. 604–10
- Gibson, Ian (1997) p. 610
- Mark Rogerson (1989). The Dalí Scandal: An Investigation. Victor Gollancz. ISBN 978-0-575-03786-1.
- ^ Forde, Kevin (2011). Investing in Collectables: An Investor's Guide to Turning Your Passion Into a Portfolio Archived 4 February 2020 at the Wayback Machine. Wiley. p. 170. ISBN 1-74246-821-7.
- "Somatemps Catalanitat és Hispanitat, Última entrevista a Dalí: "¡Viva el Rey, viva España, viva Cataluña!" (video), published 26 March 2017". 26 March 2017. Archived from the original on 9 July 2017. Retrieved 22 July 2017.
- "El País, Dalí vuelve a casa, 17 July 1986". El País (in Spanish). 16 July 1986. Archived from the original on 14 September 2017. Retrieved 22 July 2017.
- Etherington-Smith, Meredith, The Persistence of Memory: A Biography of Dalí Archived 19 April 2016 at the Wayback Machine p. 411, 1995 Da Capo Press, ISBN 0-306-80662-2
- Artner, Alan G. (24 January 1989). "Surrealist painter Salvador Dali, flamboyant art revolutionary". Chicago Tribune. p. 9. ProQuest 1015353001. Retrieved 9 May 2022.
- Etherington-Smith, Meredith, The Persistence of Memory: A Biography of Dalí, pp. xxiv, 411–12, 1995, Da Capo Press, ISBN 0-306-80662-2
- "La exhumación del cuerpo de Salvador Dalí se inicia hoy a partir de las 20 horas". Marca (in Spanish). 20 July 2017. Archived from the original on 20 July 2017. Retrieved 20 July 2017.
- Grael, Vanessa (21 July 2017). "La fundación Gala Salvador Dalí carga contra la exhumación del pintor: "Queremos una compensación patrimonial"". El Mundo (in Spanish). Figueres. Retrieved 21 July 2017.
- Redacción (20 July 2017). "Muelas, uñas y huesos: las pruebas que demostrarán la supuesta paternidad de Dalí". La Vanguardia (in Spanish). Archived from the original on 20 July 2017. Retrieved 20 July 2017.
- "Salvador Dalí: DNA test proves woman is not his daughter" Archived 16 June 2018 at the Wayback Machine, BBC News.
- Josep, Fita (21 July 2017). "El bigote de Dalí sigue intacto, marcando las 10 y 10, es un milagro". La Vanguardia (in Spanish). Barcelona. Archived from the original on 10 November 2021. Retrieved 21 July 2017.
- "Court dismisses appeal from woman claiming to be Salvador Daíi's daughter". The Guardian. 19 May 2020. Archived from the original on 20 May 2020. Retrieved 20 May 2020.
- Gibson, Ian (1997) pp. 207–08
- Gibson, Ian (1997), p. 478
- Gibson, Ian (1997), p. 312
- Pine, Julia (1 January 2010). "Breaking Dalinian Bread". InVisible Culture. Archived from the original on 30 July 2020. Retrieved 3 April 2020.
- Dalí, Salvador (1993). The Secret Life of Salvador Dalí. New York: Dover Publications. p. 306. ISBN 978-0-486-27454-6.
- ^ "Salvador Dalí's symbolism". County Hall Gallery. Archived from the original on 2 December 2006. Retrieved 28 July 2006.
- Stone, Peter (7 May 2007). Frommer's Barcelona (2nd ed.). Wiley Publishing Inc. p. 284. ISBN 978-0-470-09692-5. Archived from the original on 10 December 2021. Retrieved 23 March 2017.
- "Salvador Dalí: Liquid Desire". ngv.vic.gov.au. Archived from the original on 24 March 2015. Retrieved 14 February 2015.
- Salvador Dalí, The Secret Life of Salvador Dalí (New York: Dial Press, 1942), p. 317.
- ^ Gibson, Ian (1997) p. 478
- Michael Taylor in Dawn Adès (ed.), Dalí (Milan: Bompiani, 2004), p. 342
- Gibson, Ian (1997) pp. 433–34
- ^ Datta, Suman. "Dalí: Explorations into the domain of science". The Triangle Online. College Publisher. p. 1. Archived from the original on 8 December 2010. Retrieved 8 August 2006.
- Salvador Dalí, "Anti-Matter Manifesto," Carstairs Gallery, New York, December 1958 – January 1959, quoted in Elliott H. King, 'Nuclear mysticism', Salvador Dalí: Liquid Desire, National Gallery of Victoria, Melbourne, 2009, p. 247.
- Gibson, Ian (1997), pp. 289–93
- ^ Lobster telephone Archived 23 July 2021 at the Wayback Machine. National Gallery of Australia. Retrieved on 4 August 2006.
- Tate Collection | Lobster Telephone by Salvador Dalí Archived 9 October 2011 at the Wayback Machine. Tate Online. Retrieved on 4 August 2006.
- Gibson, Ian (1997), p. 370
- Peterson, Than (1 December 2008). "The Dali Sculpture Mess". Art News. Archived from the original on 7 August 2020. Retrieved 2 April 2020.
- Owen Cheatham Foundation. Dalí, a study of his art-in-jewels: the collection of the Owen Cheatham Foundation. New York: New York Graphic Society. 1959. p. 14.
- "Faenza-Goldmedaille für SUOMI". Artis. 29: 8. 1976. ISSN 0004-3842.
- H. Vázquez, Carlos (2 July 2015). "Cuando Dalí reinventó Chupa Chups". Forbes (in Spanish). Archived from the original on 4 June 2019. Retrieved 17 March 2018.
- Calandria, Juan (29 March 2017). "Madrid acoge el festival de Eurovisión de 1969". Eurovision Planet (in Spanish). Archived from the original on 17 March 2018. Retrieved 17 March 2018.
- Jacques (26 April 2009). "40 años de Eurovisión 1969 – Segunda parte: Canciones 1–5". Ole Vision (in Spanish). Archived from the original on 17 March 2018. Retrieved 17 March 2018.
- Liukkonen, Petri. "Federico García Lorca". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 10 February 2015.
- Gibson, Ian (1997) pp. 385, 398–99
- "Past Exhibitions". Haggerty Museum of Art. Marquette University. Archived from the original on 3 September 2006. Retrieved 8 August 2006.
- "Dalí & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.
- Gibson, Ian (1997) p. 174
- Gibson, Ian (1997) pp. 248–49
- Eberwein, Robert T. (2014). Film and the Dream Screen: A Sleep and a Forgetting Archived 17 February 2020 at the Wayback Machine. Princeton University Press. p. 83. ISBN 1-4008-5389-3.
- Gibson, Ian (1997), pp. 267–74
- Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.
- "Dali: Painting and Film," Press release, Museum of Modern Art, June 2008
- Gibson, Ian (1997) pp. 434–35
- Gibson, Ian (1997) p. 479
- Gibson, Ian (1997), pp. 519, 726
- Elliott H. King, Dalí, Surrealism, and Cinema Archived 21 June 2007 at the Wayback Machine, Kamera Books 2007, p. 169.
- Gibson, Ian (1997) p. 562
- "Jodorowsky's Dune – Official Website of the Documentary – Synopsis". jodorowskysdune.com. Archived from the original on 17 February 2015. Retrieved 14 February 2015.
- Gibson, Ian (1997) pp. 556–557
- ^ Dalí Rotterdam Museum Boijmans Archived 22 October 2006 at the Wayback Machine. Paris Contemporary Designs. Retrieved on 8 August 2006.
- Weir, Simon (29 July 2022). "Surrealist Architecture: Dalí's 1958 Crisalida, San Francisco". Journal of Surrealism and the Americas. 13 (1). ISSN 2326-0459.
- Salvador Dalí: Hidden faces: London: Owen: 1973
- Gibson, Ian (1997) pp. 710–13 and passim
- Gibson, Ian (1997), pp. 308–13, 567
- "Les bruixes de Llers, Fages de Climent, Carles. Ilustra: Salvador Dalí. Editorial Políglota (imp. Altés), 1924". Archived from the original on 20 March 2020. Retrieved 20 March 2020.
- Dalí, Salvador, Carles Fages de Climent, Les bruixes de Llers, primera edición: Barcelona, Editorial Políglota, 1924 Archived 20 March 2020 at the Wayback Machine. Sotheby's Paris, 18 June 2019
- "The shameful life of Salvador Dalí" (the witches of Liars)". Extract Ian Gibson on Dalí and the theme of Les bruixes de Llers
- Gibson, Ian (1997) pp. 496–97, 512
- Gibson, Ian (1997) pp. 64–67, 83–84
- Gibson, Ian (1997), pp. 113–14
- Gibson, Ian (1997) pp. 287–89
- Gibson, Ian (1997) pp. 320–25
- Badcock, James (1 September 2022). "Salvador Dali wanted to enslave non-white races and create new 'sadistic' religion, letter reveals". The Telegraph – via www.telegraph.co.uk.
- Gibson, Ian (1997), pp. 448, 465–66
- Gibson, Ian (1997) pp. 486, 543, 553
- Gibson, Ian (1997) pp. 525–27
- Gibson, Ian (1997) pp. 560–62
- Gibson, Ian (1997) p. 587
- Robert Descharnes, Gilles Néret (1994). Salvador Dalí, 1904–1989. Benedikt Taschen. p. 166. ISBN 978-3-8228-0298-4.
Dalí, dualist as ever in his approach, was now claiming to be both an agnostic and a Roman Catholic.
- McNeese, Tim (2006). Salvador Dalí. Chelsea House. p. 102. ISBN 978-0-7910-8837-1.
- Gibson, Ian (1997) p. 525
- Gibson, Ian (1997) pp. 71–74,166, 232, 280–81
- Gibson, Ian (1997), p. 231
- Gibson, Ian (1997) p. 534
- "Dali's surreal world of orgies and onanism: Dirty Dali: A Private View". The Scotsman. 4 June 2007. Archived from the original on 29 November 2020. Retrieved 21 November 2020.
- Sewell, Brian (1 January 2007). "The Dalí I knew". This is London. Archived from the original on 7 July 2007.
- Gibson, Ian (1997) pp. 413–14
- Gibson, Ian (1997) p. 569
- "Program Notes by Andy Ditzler (2005) and Deborah Solomon, Utopia Parkway: The Life of Joseph Cornell (New York: Farrar, Straus, and Giroux, 2003)". Andel.home.mindspring.com. Archived from the original on 8 April 2005. Retrieved 22 August 2010.
- Gibson, Ian (1997), p. 479
- The Surreal World of Salvador Dalí Archived 3 March 2007 at the Wayback Machine. Smithsonian Magazine. 2005. Retrieved 31 August 2006.
- "Retired cruise ship now asbestos battleground". NBC News. Retrieved 7 May 2022.
- on which he created a work of art out of his own name,
- "Mike Wallace Interviews Salvador Dalí". The Mike Wallace Interview. Archived from the original on 3 December 2013. Retrieved 5 April 2020.
- "Dalí on Whats my Line". retronaut.co. Archived from the original on 2 June 2012. Retrieved 14 February 2015.
- Frank, Priscilla (29 April 2015). "The Early Days Of Television Were Way More Avant-Garde Than You Give Them Credit For". Huffington Post. Archived from the original on 4 September 2016. Retrieved 26 June 2017.
- "Salvador Dalí on the Dick Cavett Show, Youtube". YouTube. 10 May 2016. Archived from the original on 28 January 2017. Retrieved 20 November 2017.
- Salvador Dalí at Le Meurice Paris and St Regis in New York Archived 11 October 2007 at the Wayback Machine Andreas Augustin, ehotelier.com, 2007
- Salvador Dali – Chocolat Lanvin $ on YouTube
- Namath: A Biography, Mark Kriegel p. 290
- Bock, Pauline (24 August 2018). "Spanish hit series 'La Casa de Papel' captures Europe's mood a decade after the crash". New Statesman. Archived from the original on 8 August 2019. Retrieved 11 August 2019.
- Ruiz de Elvira, Álvaro (13 July 2018). "Álex Pina: "Hay que hacer avances en la ficción, el espectador es cada vez más experto"". El País (in Spanish). Archived from the original on 2 July 2019. Retrieved 10 August 2019.
- "La Reserva Nacional de Fauna Andina Eduardo Avaroa cumple 47 años de creación". Servicio Nacional de Áreas Protegidas. 13 December 2020. Archived from the original on 10 December 2021. Retrieved 7 July 2021.
- "Dali". Gazetteer of Planetary Nomenclature. NASA. Archived from the original on 2 June 2011. Retrieved 30 June 2012.
- "HHI Names Two Containerships for New Year". 5 January 2015. Retrieved 26 March 2024.
- "Salvador Dalí's Museums – Gala". www.salvador-dali.org. Salvador Dalí Foundation. Archived from the original on 25 June 2014. Retrieved 26 June 2017.
- "Most frequently requested artists list of the Artists Rights Society". Artists Rights Society. Archived from the original on 31 January 2009.
- "Dalí – Museu Berardo". en.museuberardo.pt. Archived from the original on 27 May 2017. Retrieved 26 June 2017.
- "Salvador Dalí". www.academieroyale.be. Archived from the original on 23 October 2017. Retrieved 26 June 2017.
- "Académiciens depuis 1795". Academy des Beaux-Arts. 13 February 1957. Archived from the original on 6 August 2020. Retrieved 5 April 2020.
- Darnton, John (19 April 1983). "Major Retrospective Honors Dalí in Spain". The New York Times. Archived from the original on 23 October 2017. Retrieved 26 June 2017.
- Descharnes, Robert and Néret, Giles, Dalí, Taschen, 2001 – 2007
Further reading
Important books by or about Salvador Dalí readily available in English include:
- Ades, Dawn, Salvador Dalí, Thames and Hudson, 1995 (2nd ed.)
- Dalí, Salvador, Oui: the paranoid-critical revolution: writings 1927–1933, (edited by Robert Descharnes, translated by Yvonne Shafir), Boston: Exact Change, 1998
- Dalí, Salvador, The Secret Life of Salvador Dalí, New York, Dover, 1993 (translated by Haakon M. Chevalier, first published 1942)
- Dalí, Salvador, The Diary of a Genius, London, Hutchinson, 1990 (translated by Richard Howard, first published 1964)
- Dalí, Salvador, The Unspeakable Confessions of Salvador Dalí, London, Quartet Books, 1977 (first published 1973)
- Descharnes, Robert, Salvador Dalí (translated by Eleanor R. Morse), New York, Abradale Press, 1993
- Gibson, Ian, The Shameful Life of Salvador Dalí, London, Faber and Faber, 1997
- Shanes, Eric, Salvador Dalí, Parkstone International, 2014
External links
- Morley, Sarah (23 February 2022). "Big Bold Botanicals". State Library of NSW.
- Salvador Dalí on What's My Line?
- "Sound: Salvador Dalí". UbuWeb. Interview and bank advertisement.
- "Video: Salvador Dalí". INA Archives. A collection of interviews and footage of Dalí in the French television
- Mike Wallace interviews Salvador Dalí Archived 15 December 2015. Harry Ransom Center, the University of Texas at Austin
- Panorama: Salvador Dali – Malcolm Muggeridge BBC interview, first transmitted 4 May 1955
- Salvador Dalí
- 1904 births
- 1989 deaths
- 20th-century male artists
- 20th-century Spanish painters
- 20th-century Spanish sculptors
- Federico García Lorca
- Former Marxists
- Francoists
- Illeists
- Knights Grand Cross of the Order of Isabella the Catholic
- Marquesses of Spain
- Mathematical artists
- Members of the Royal Academy of Belgium
- Painters from Catalonia
- People from Figueres
- Recipients of the Legion of Honour
- Spanish artists
- Spanish erotic artists
- Spanish illustrators
- Spanish male painters
- Spanish male sculptors
- Spanish modern painters
- Spanish monarchists
- Spanish people of Arab descent
- Spanish people of Jewish descent
- Spanish printmakers
- Spanish Roman Catholics
- Spanish surrealist artists
- Surrealist artists
- Surrealist filmmakers