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| {{Infobox Artist | |||
| | name = Salvador Dalí, Marquis de Púbol | |||
| | image = Salvador Dalí 1939.jpg | |||
| | imagesize = 180px | |||
| | birthname = Salvador Domingo Felipe Jacinto Dalí i Domènech | |||
| | birthdate = {{birth date|1904|5|11|mf=y}} | |||
| | location = ], ], ] | |||
| | deathdate = {{death date and age|1989|01|23|1904|05|11}} | |||
| | deathplace = ], ], ] | |||
| | nationality = ] | |||
| | field = ], ], ], ], ] | |||
| | training = ], ] | |||
| | movement = ], ], ] | |||
| | famous 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/>''The Temptation of St. Anthony'' (1946)<br/>''Galatea of the Spheres'' (1952)<br/>'']'' (1954) | |||
| | patrons = | |||
| | awards = | |||
| }} | |||
| '''Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st ] of Púbol''' (] ] – ] ]), was a ] ] painter born in ], ], ]. | |||
| Dalí was a skilled ], best known for the striking and bizarre images in his ] work. His ] skills are often attributed to the influence of ] masters.<ref name=Dali>Dalí, Salvador. (2000) ''Dalí: 16 Art Stickers'', Courier Dover Publications. ISBN 0-486-41074-9.</ref> His best known work, '']'', was completed in 1931. | |||
| Salvador Dalí's artistic repertoire also included film, sculpture, and photography. He collaborated with ] on the ]-nominated short cartoon {{lang|es|'']''}}, which was released posthumously in 2003. He also collaborated with ] on Hitchcock's film '']''. | |||
| Dalí insisted on his "Arab lineage", claiming that his ancestors were descended from the ] who occupied Southern Spain for nearly 800 years (711-1492), and attributed to these origins, "my 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 Dali | 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 ], ], ] or ]. On the other hand, also according to Gibson, Dalí's mother family, the Domènech of Barcelona, had Jewish roots.</ref> | |||
| Widely considered to be greatly imaginative, Dalí had an affinity for doing unusual things to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his ] manner sometimes drew more public attention than his artwork.<ref>Saladyga, Stephen Francis. . ''lamplighter (Niagara University)''. Vol. 1 No. 3, Summer 2006. Retrieved ] ].</ref> The purposefully-sought notoriety led to broad public recognition and many purchases of his works by people from all walks of life. | |||
| ==Biography== | |||
| ===Early life=== | |||
| ] | |||
| Salvador Domingo Felipe Jacinto Dalí i Domènech, was born on ], ], at 8:47 am GMT<ref> According to his birth certificate. on astrotheme.fr. Accessed ] ].</ref> in the town of ], in the ] ] close to the ] border in ], ].<ref>Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33</ref> Dalí's older brother, also named Salvador (b. ] ]), had died of gastroenteritis, nine months earlier, on ] ]. 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 disciplinarian approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.<ref name=Rojas>Rojas, Carlos. ''Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait'', Penn State Press (1993). ISBN 0-271-00842-3.</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 ] ].</ref> which he came to believe.<ref> on astrodatabank.com. Accessed ] ].</ref> Of his brother, Dalí said: ''"… resembled each other like two drops of water, but we had different reflections."''<ref>Dalí, Secret Life, p.2</ref> He ''"was probably a first version of myself but conceived too much in the absolute."''<ref>Dalí, Secret Life, p.2</ref> | |||
| Dalí also had a sister, Ana María, 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 = 2006-09-30}}</ref> His childhood friends included future ] footballers, ] and ]. During holidays at the Catalan resort of ], the trio played football together. | |||
| Dalí attended ]. In 1916 Dalí also discovered modern painting on a summer vacation to ] with the family of ], a local artist who made regular trips to ].<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 Theater in Figueres in 1919. | |||
| In February 1921, Dalí’s mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death ''"was the greatest blow I had experienced in my life. I worshipped her … I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."''<ref>Dalí, Secret Life, pp.152–153</ref> After her death, Dalí’s father married his deceased wife’s sister. Dalí did not resent this marriage as some do think, because he had a great love and respect toward his aunt.<ref name=Llongueras /> | |||
| ===Madrid and Paris=== | |||
| ] artist ] in ] on ], ], photographed by ]]] | |||
| In 1922, Dalí moved into the ] (Students' Residence) in ]<ref name=Llongueras /> and there studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m <ref>As listed in , aged 20. However, his hairdresser and biographer, Luis Llongueras, states Dalí was 1.74 m tall.</ref> tall dandy, Dalí already drew attention as an eccentric, wearing long hair and sideburns, coat, stockings and knee breeches in the fashion style of the English ] of the late 19th century. But his paintings, where he experimented with ], earned him the most attention from his fellow students. In these earliest Cubist works, he probably did not completely understand the movement, since his only information on Cubist art came from a few magazine articles and a catalog given to him by Pichot, and there were no Cubist artists in Madrid at the time. | |||
| In 1924 the still unknown Salvador Dali illustrated for the first time a book. It was the ] poem "Les bruixes de ]" (]) by his friend and schoolmate, the poet ]. | |||
| Dalí also experimented with ], which influenced his work throughout his life. At the Residencia, he became close friends with, among others, ], ], and the ] ]. 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 fearfully rejected the erotic advances of the poet.<ref name=coversations>Bosquet, Alain, '''', 1969. p. 19-20. {{Languageicon|PDF|Portable Document File}} (of Garcia Lorca) 'S.D.:He was homosexual, as everyone knows, and madly in love with me. He tried to screw me twice .... I was extremely annoyed, because I wasn’t homosexual, and I wasn’t interested in giving in. Besides, it hurts. So nothing came of it. But I felt awfully flattered vis-à-vis the prestige. Deep down I felt that he was a great poet and that I owe him a tiny bit of the Divine Dalí's asshole.'</ref> | |||
| Dalí was expelled from the Academia in 1926 shortly before his final exams when he stated that no one on the faculty was competent enough to examine him.<ref name=olga>. Retrieved on ], ].</ref> His mastery of painting skills is well documented by that time in his flawlessly realistic ''Basket of Bread'', which was painted in 1926.<ref>http://www.dali-gallery.com/html/galleries/painting05.htm</ref> That same year he made his first visit to Paris where he met with ], whom young Dalí revered. Picasso had already heard favorable things about Dalí from ]. Dalí did a number of works heavily influenced by Picasso and Miró over the next few years as he developed his own style. | |||
| Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences of all styles of art he could find and then produced works 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> sometimes in separate works and sometimes combined. Exhibitions of his works in ] attracted much attention and mixtures of praise and puzzled debate from critics. | |||
| Dalí grew a flamboyant ], which became iconic of him; it was influenced by that of seventeenth century Spanish master painter ]. | |||
| ===1929 through World War II=== | |||
| ]'' (1931) is one of Dalí's most famous works]] | |||
| <!-- NB on the Spanish word "memoria": in Spanish, the emphasis is on the O (memORia), not on the I (memorIA) as an English speaker might think. I write this because someone before had written it as "memoría" which is incorrect. // yes, but anyhow, neither memoria nor persistencia carry accents … // But the work premiered in Paris with the title in French; it has never exhibited in Spain and has always been known with its title in French or English--> | |||
| In 1929, Dalí collaborated with the surrealistic film director ] on the short ] {{lang|fr|'']''}} (''An Andalusian Dog''). He was mainly responsible for helping Buñuel write the script for the film. | |||
| Dalí later claimed to have been more heavily involved in the filming of the project, but this is not substantiated by contemporary accounts.<ref>Koller, Michael. . ''senses of cinema'' January 2001. Retrieved on ], ].</ref> | |||
| Also that year he met his muse, inspiration, and future wife ],<ref name=unbound>Shelley, Landry. . ''Unbound'' (]) Spring 2005. Retrieved on ], ].</ref> born Elena Ivanovna Diakonova, a ]n ] eleven years his senior who was then married to the ] poet ]. | |||
| In the same year, Dalí had important professional exhibitions and officially joined the surrealist group in the ] quarter of ] (although his work had already been heavily influenced by surrealism for two years). The surrealists hailed what Dalí called the ] of accessing the ] for greater artistic ].<ref name=Llongueras /><ref name=Rojas /> | |||
| In 1931, Dalí painted one of his most famous works, '']''.<ref> (PDF) from the Salvador Dalí Museum. Retrieved on ] ].</ref> Sometimes called ''Soft Watches'' or ''Melting Clocks'', the work introduced the surrealistic image of the soft, melting ]. | |||
| The general interpretation of the work is that the soft watches debunk the assumption that time is rigid or deterministic, and this sense is supported by other images in the work, such as the wide expanding landscape and the ants and fly devouring the other watches.<ref name=Conquete>Salvador Dalí, {{lang|fr|''La Conquête de l’irrationnel''}} (Paris: Éditions surréalistes, 1935), p. 25.</ref> | |||
| Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony (They remarried in a ] ceremony in 1958). | |||
| ]'' (1944) Dalí said, "the noise of the bee here causes the sting of the dart that will wake Gala"]] | |||
| Dalí was introduced to America by art dealer ] in 1934, and the exhibition of Dalí works (including ''Persistence'') in New York created an immediate sensation. ] listees feted him at a specially organized "Dali Ball". He showed up wearing on his chest a glass case containing a brassiere. <ref> Current Biography 1940, pp219-220 </ref> | |||
| In 1936, Dalí took part in the ]. His lecture entitled {{lang|fr|''Fantomes paranoiaques authentiques''}} was delivered wearing a deep-sea diving suit.<ref>Jackaman, Rob. (1989) ''Course of English Surrealist Poetry Since the 1930s'', Edwin Mellen Press. 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> Current Biography 1940, p219 </ref> | |||
| Dali, instead of condemning Hitler as his fellow surrealists, developed an obsessive interest in what he called "the Hitler phenomenon" which was frowned upon by his predominantly ] surrealist colleagues. Then, when ] came to power in the aftermath of the ], Dalí was one of the few Spanish intellectuals supportive of the new regime <ref></ref> which eventually resulted in his official expulsion from the surrealist group.<ref name=unbound /> At this, Dalí retorted, "I myself am surrealism."<ref name=olga /> ] coined the ] "avida dollars" (for ''Salvador Dalí''), which more or less translates to "eager for dollars,"<ref name=artcyclopedia>. Retrieved ], ].</ref> by which he referred to Dalí after the period of his expulsion. The surrealists henceforth spoke of Dalí in the past tense, as if he was dead. At this stage his main patron was the very wealthy ]. | |||
| The surrealist movement and various members thereof (such as ]) would continue to issue extremely harsh polemics against Dalí until the time of his death and beyond. | |||
| "During this period Dali never stopped writing," wrote Robert and Nicolas Descharnes. <ref> Descharnes, Robert and Nicolas. ''Salvador Dali''. New York: Konecky & Konecky, 1993. p. 35. </ref> "In 1941, he drafted a film scenario for ] called ''Moontide''. He wrote catalogs for his exhibitions like that at the Knoedler Gallery where he expounded, 'Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college.' He also wrote a novel ... published ... in 1944 ... about a fashion salon for automobiles. This got a drawing by Edwin Cox in ] showing him dressing an automobile in an evening gown."<ref> Descharnes, Robert and Nicolas. ''Salvador Dali''. New York: Konecky & Konecky, 1993. p. 35. </ref> | |||
| As ] started in Europe, Dalí and Gala moved to the ] in 1940, where they lived for eight years. After the move, Dalí returned to the practice of Catholicism. In 1942, he published his autobiography, ''The Secret Life of Salvador Dalí''. | |||
| An Italian ], ], claimed to have performed an ] on Dalí while he was in France in 1947. <ref> Catholic News ] ]</ref> The friar's estate contained a sculpture of Christ on the cross which Dalí had given his exorcist to thank him. <ref> Catholic News ] ]</ref> The sculpture was discovered in 2005 and two Spanish experts in Surrealism confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí. <ref> Catholic News ] ]</ref> | |||
| ===Later years in Catalonia=== | |||
| ] | |||
| Starting in 1949, Dalí spent his remaining years back in his beloved Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and many other artists.<ref name=navarro>Navarro, Vicente, Ph.D. . ''Counterpunch''. ], ]. Retrieved ], ].</ref> As such, it is probable that at least some of the common dismissal of Dalí's later works had more to do with politics than the actual merits of the works themselves. In 1959, ] organized an exhibit called, ''Homage to Surrealism'', celebrating the Fortieth Anniversary of Surrealism, which contained works by Salvador 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> | |||
| Late in his career, Dalí did not confine himself to painting but experimented with many unusual or novel media and processes: he made ] works<ref name=bp>. {{lang|fr|''Bonjour Paris''}}. Retrieved on ], ].</ref> and was among the first artists to employ ] in an artistic manner.<ref name=holo>. ''Holophile''. Retrieved on ], ].</ref> Several of his works incorporate ]s. In his later years, young artists like ] proclaimed Dalí an important influence on ].<ref name=warhol>. ''Carnegie Magazine''. Retrieved on ], ].</ref> Dalí also had a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably in the 1950s when he painted his subjects as composed of rhinoceros horns, signifying divine geometry (as the rhinoceros horn grows according to a logarithmic spiral) and chastity (as Dalí linked the rhinoceros to the Virgin Mary).<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 - and an unfolding of a hypercube is featured in the painting '']''. | |||
| Dalí’s post-World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science and religion. Increasingly Catholic, and inspired by the shock of Hiroshima, he labeled this period "Nuclear ]". In paintings such as The Madonna of Port-Lligat (first version) of 1949 and Corpus Hypercubus, 1954, Dalí sought to synthesize Christian ] with images of material disintegration inspired by nuclear physics.<ref> Retrieved ] ].</ref> “Nuclear Mysticism” included such notable pieces as La Gare de Perpignan, 1965, and Hallucinogenic Toreador, 1968–1970. In 1960, Dalí began work on the ] in his home town of ]; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s. | |||
| ]'' (1954)]] | |||
| In 1968, Dalí filmed a television advertisement for Lanvin chocolates<ref> Andreas Augustin, ehotelier.com, 2007</ref> and in 1969 designed the ] logo. Also in 1969, He was responsible for creating the advertising aspect of the ], and created a large metal sculpture, which stood on the stage at the Teatro Real in Madrid. | |||
| In the television programme ''Dirty Dalì: A Private View'' broadcast on ] on ], ], the 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></ref><ref> By Brian Sewell, thisislondon.co.uk</ref> | |||
| In 1980, Dalí's health took a catastrophic turn. His near-] wife Gala was dosing him with a dangerous cocktail of non-prescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic ability. At 76 years old, the 'ever-healthy' Dalí was a complete wreck, his right hand trembling terribly, ]-like.<ref>Ian Gibson (1997). ''The Shameful Life of Salvador Dali''. W. W. Norton & Company. </ref> | |||
| In 1982, King ] bestowed on Dalí the title ] of ], for which Dalí later paid him by giving him a drawing (''Head of Europa'', which would turn out to be Dalí's final drawing) after the king visited him on his deathbed. | |||
| Gala died on ], ]. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself—possibly as a suicide attempt, possibly in an attempt to put himself into a state of suspended animation, as he had read that some ]s could do. He moved from Figueres to the ] which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom<ref>. '']''. ], ]. Retrieved ], ]</ref> under unclear circumstances—possibly a suicide attempt by Dalí, possibly simple negligence by his staff.<ref name=olga /> In any case, Dalí was rescued and returned to Figueres where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his ] for his final years. | |||
| ] in ], home of his crypt]] | |||
| ], scene of Dali's ], ], and ]]] | |||
| There have been allegations that his guardians forced Dalí to sign blank canvasses that would later (even after his death) be used and sold as originals.<ref name="scandal">{{cite book | title=The Dalí Scandal: An Investigation | author=Mark Rogerson | id=ISBN 0575037865 | publisher=Victor Gollancz | year=1989}}</ref> As a result, art dealers tend to be wary of late works attributed to Dalí. | |||
| In November 1988 Dali entered the hospital with heart failure and on December 5, 1988 was visited by King ] who confessed that he had always been a serious devotee of Dali. <ref>Etherington | |||
| -Smith, Meredith p. 411, 1995 Da Capo Press, ISBN 0306806622</ref> On ], ] while his favorite record of ] played, he died of heart failure at Figueres, at the age of 84, and, coming full circle, is buried in the ] of his ] in Figueres, across the street from the church of Sant Pere where he had his funeral, first communion, and baptism, and three blocks from the house where he was born.<ref>Etherington | |||
| -Smith, Meredith pp. xxiv, 411-412, 1995 Da Capo Press, ISBN 0306806622</ref> | |||
| ==Symbolism== | |||
| Dalí employed extensive symbolism in his work. For instance, the hallmark soft 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 ] during a hot day in August.<ref>Salvador Dalí, ''The Secret Life of Salvador Dalí'' (New York: Dial Press, 1942), p. 317.</ref> | |||
| The elephant is also a recurring image in Dalí's works. It first appeared in his 1944 work '']''. The elephants, inspired by ] sculpture ] in Rome of an ],<ref>Michael Taylor in Dawn Ades (ed.), ''Dalí'' (Milan: Bompiani, 2004), p. 342</ref> are portrayed "with long, multi-jointed, almost invisible legs of desire"<ref name=countycollection>. ''County Hall Gallery''. Retrieved on ], ].</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''. | |||
| 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 ], ]</ref> it appears in '']'' and '']''. Various animals appear throughout his work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud’s house when he first met ]); and locusts are a symbol of waste and fear.<ref name=symb /> | |||
| ==Endeavors outside painting== | |||
| ]]] Dalí was a versatile artist, not limiting himself only to painting in his artistic endeavors. Some of his more popular artistic works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas. | |||
| Two of the most popular objects of the surrealist movement were the '']'' and the '']'', completed by Dalí in 1936 and 1937, respectively. The ] ] ] commissioned both of these pieces from Dalí; James, an eccentric who had inherited a large English estate when he was five, was one of the foremost supporters of the surrealists in the 1930s.<ref name=natgalaust> . ''National Gallery of Australia''. Retrieved on ], ].</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 ], ].</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 ]; 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 /> | |||
| ]]] | |||
| 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. | |||
| During the years between 1941 and 1970 Dalí was also responsible for creating a striking ensemble of jewels, 39 in total. The jewels created are intricate and some contain actual moving parts. The most famous jewel created by Dalí, "The Royal Heart", is crafted using gold and is encrusted with forty-six rubies, forty-two diamonds and four emeralds, and is created in such a way that the center "beats" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist." (Dalí, 1959.) The Dali —Joies (The Jewels of Dali) collection can be seen at the Dali Theater Museum in Figueres, Catalonia, Spain, where it is on permanent exhibition. | |||
| In theatre, Dalí is remembered for constructing the scenery for García Lorca's 1927 romantic play '']''.<ref>. ''Pegásos''. Retrieved on ], ].</ref> For '']'' (1939), a ballet based on and set to the music of ]'s 1845 opera '']'', Dalí provided both the set design and the libretto.<ref name=designws>. ''Paris Contemporary Designs''. Retrieved on ], ].</ref> ''Bacchanale'' was followed by set designs for ''Labyrinth'' in 1941 and ''The Three-Cornered Hat'' in 1949.<ref>. ''Haggerty Museum of Art''. Retrieved ], ].</ref> | |||
| Dalí also delved into the realms of ], most notably playing a large role in the production of '']'', a 17-minute French art film co-written with ] that is widely remembered for its graphic opening scene simulating the slashing of a human ] with a ]. Dalí collaborated again with ] on the 1930 film, '']'', and went on to write a number of filmscripts, very few of which made it past conception. The most well-known of his film projects is probably the dream sequence in ] <em>]</em>, which heavily delves into themes of psychoanalysis. He also worked on a ] cartoon production '']''; completed in 2003 by Baker Bloodworth and ], it contains dream-like images of strange figures flying and walking about. Dalí completed only one other film in his lifetime: ''Impressions of Upper Mongolia'' (1975), in which he narrated a story about an expedition in search of giant hallucinogenic mushrooms. The imagery was based on microscopic uric acid stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.<ref>Elliott H. King, , Kamera Books 2007, p. 169.</ref> | |||
| Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with the Italian fashion designer ] is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. With ] in 1950, Dalí created a special "costume for the year 2045."<ref name=designws /> 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 /> | |||
| 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 Freud. 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 ], ].</ref> | |||
| ]'' (1954) was Dalí's way of ushering in the new science of physics above psychology]] | |||
| In this respect, '']'', which appeared in 1954, in hearkening back to ''The Persistence of Memory'' and portraying that painting in fragmentation and disintegration, summarizes Dalí's acknowledgment of the new science.<ref name=triangle /> | |||
| Architectural achievements include his Port Lligat house near Cadaqués as well as the ''Dream of Venus'' surrealist pavilion at the 1939 ] which contained within it a number of unusual sculptures and statues. His literary works include ''The Secret Life of Salvador Dalí'' (1942), ''Diary of a Genius'' (1952–1963), and ''Oui: The Paranoid-Critical Revolution '' (1927–1933). The artist worked extensively in the graphic arts producing many etchings and lithographs. While his early work in printmaking is equal in quality to his important paintings as he grew older, he would sell the rights to images but not be involved in the print-production itself. In addition, a large number of unauthorized fakes were produced in the eighties and nineties thus further confusing the Dalí print market. | |||
| One of Dalí's most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965 Dalí met ], a fashion model then known as Peki D'Oslo.<ref name=Prose>Prose, Francine. (2000) ''The Lives of the Muses: Nine Women and the Arists they Inspired''. Harper Perennial. ISBN 0060555254.</ref> Lear became his protegé and muse,<ref name=Prose>Prose, ''The Lives of the Muses''.</ref> writing about their affair in the authorized biography ''My Life With Dalí'' (1986).<ref name=Lear>Lear, Amanda. (1986) ''My Life with Dalí''. Beaufort Books. ISBN 0825303737.</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 disco-art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop,<ref name=Prose>Prose, ''The Lives of the Muses''.</ref> and it has been speculated{{Who|date=December 2007}} that Dalí financed Lear's sex reassignment surgery.{{Fact|date=December 2007}}<!-- what surgery? cite a reliable source --> Referred to as Dalí's "Frankenstein,"<ref name=Lozano>Lozano, Carlos. (2000) ''Sex, Surrealism, Dalí, and Me''. Razor Books Ltd. ISBN 0953820505.</ref> some believe Lear's name is a pun on the French "L'Amant Dalí," or Lover of Dalí. Lear took the place of an earlier muse, ], who had left Dalí's side to join the Factory of ].<ref name=Etherington-Smith>Etherington-Smith, Meredith. (1995) ''The Persistence of Memory: A Biography of Dali''. Da Capo Press. ISBN 0306806622.</ref> | |||
| ==Politics and personality== | |||
| ] | |||
| Salvador Dalí's politics played a significant role in his emergence as an artist. He has sometimes been portrayed as a supporter of the ] ].<ref name=navarro /><ref>{{cite journal |author=Vicente Navarro | title=Salvador Dali, Fascist | journal=] |date=] ] | url=http://www.countercurrents.org/dali-navarro121203.htm }}</ref> ], leader of the surrealist movement, made a strong effort to dissociate his name from surrealists proper. The reality is probably somewhat more complex; in any event, he was not an ], as he was a friendly acquaintance of famed architect and designer ], who was Jewish. He also professed great admiration for Freud (whom he met), and Einstein, both Jewish, as can be verified throughout his writings. In his critical review of Dalí's autobiography ''Secret Life,'' ] 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 Review">{{cite journal | author=George Orwell | title=Benefit Of Clergy: Some Notes On Salvador Dali | journal=] | year=1944 | url=http://whitewolf.newcastle.edu.au/words/authors/O/OrwellGeorge/essay/CriticalEssays/salvadordali.html }}</ref> The misunderstanding probably arises from Dalí's deliberately provocative scorn for the communist leanings of his peers, and the fact that he painted Hitler on more than one occasion.{{Fact|date=December 2007}} However, as he correctly pointed out to his critics at the time, it was impossible for him to have been a supporter of Hitler, who would have "done away with hysterics" such as Dalí. | |||
| In his youth, Dalí embraced for a time both ] and ]. His writings account various anecdotes of making radical political statements more to shock listeners than from any deep conviction, which was in keeping with Dalí's allegiance to the ] movement. As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of the ]ist ] who is said to have called Dalí in for questioning on his politics. In his 1970 book ''Dali by Dali'', Dalí was declaring himself an anarchist and monarchist giving rise to speculations of ]. | |||
| While in ] in 1942, he denounced his colleague, surrealist filmmaker ], as an atheist, causing Buñuel to be fired from his position at the ] and subsequently ] from the ].<ref>"In his book ''The Secret Life of Salvador Dalí'', I was described as an atheist, an accusation that at the time was worse than being called a Communist. Ironically, at the same moment that Dalí's book appeared, a man named Prendergast who was part of the Catholic lobby in Washington began using his influence with government officials to get me fired. I knew nothing at all about it, but one day when I arrived at my office, I found my two secretaries in tears. They showed me an article in a movie magazine called ''Motion Picture Herald'' about a certain peculiar character named Luis Buñuel, author of the scandalous '']'' and now an editor at the Museum of Modern Art. Slander wasn't exactly new to me, so I shrugged it off, but my secretaries insisted that this was really very serious. When I went into the projection room, the projectionist, who'd also read the piece, greeted me by wagging his finger in my face and smirking, "Bad Boy!" | |||
| <br/> | |||
| Finally, I too became concerned and went to see Iris, who was also in tears. I felt as if I'd suddenly been sentenced to the electric chair. She told me that the year before, when Dalí's book had appeared, Pendergast had lodged several protests with the State Department, which in turn began to pressure the museum to fire me. They'd managed to keep things quiet for a year; but now, with this article, the scandal had gone public, on the same day that American troops disembarked in Africa. | |||
| <br/> | |||
| Although the director of the museum, Alfred Barr, advised me not to give in, I decided to resign, and found myself once again out on the street, forty-three and jobless." {{cite book | author=Luis Buñuel | title=My Last Sigh: The Autobiography of Luis Buñuel | year=1984 | publisher=Vintage | pages=182–183 | url=http://www.adherents.com/people/pb/Luis_Bunuel.html }}</ref> | |||
| ]'' (1936)]] | |||
| With the outbreak of the ], Dalí fled from fighting and refused to align himself with any group. Likewise, after ], ] criticized Dalí for "scuttl off like rat as soon as France is in danger" after Dalí prospered there for years: "When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near."<ref name="Orwell Review"/> After his return to ] after World War II, Dalí became closer to the ] regime. Some of Dalí's statements supported the Franco regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces". Dalí, having returned to the Catholic faith and increasingly religious as time went on, was almost certainly referring to the communists, socialists and anarchists who had ] during the Spanish Civil War. Dalí sent telegrams to Franco, "praising him for signing death warrants for political prisoners."<ref name=navarro /> Dalí even met Franco personally<ref></ref> and painted a portrait of Franco's granddaughter. It is impossible to determine whether his tributes to Franco were sincere or whimsical; he also once sent a telegram praising the ''Conducător'', Romanian Communist leader ], 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=coversations /> | |||
| Dalí was a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, 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 ], ]</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. When signing autographs for fans, Dalí would always keep their pens. When interviewed by ] on his '']'' television show, Dalí kept referring to himself in the third person, and told the startled Mr. Wallace matter-of factly that "Dalí is immortal and will not die". During another television appearance, on the '']'', Dalí carried with him a leather rhinoceros and refused to sit upon anything else. | |||
| ==Listing of selected works== | |||
| ] used a surreal entrance display including its steps, for the 2005 Salvador Dalí exhibition]] | |||
| 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 = 2006-06-13}}</ref> in addition to producing illustrations for books, lithographs, designs for theater sets and costumes, a great number of drawings, dozens of sculptures, and various other projects, including an ] for ]. 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 /> | |||
| In Carlos Lozano's biography, ''Sex, Surrealism, Dalí, and Me'', produced by 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 ''Vilabertin'' | |||
| * 1916 ''Fiesta in Figueras'' (begun 1914) | |||
| * 1917 ''View of Cadaqués with Shadow of Mount Pani'' | |||
| * 1918 ''Crepuscular Old Man'' (begun 1917) | |||
| * 1919 ''Port of Cadaqués (Night)'' (begun 1918) and ''Self-portrait in the Studio'' | |||
| * 1920 ''The Artist’s Father at Llane Beach'' and ''View of Portdogué (Port Aluger)'' | |||
| * 1921 ''The Garden of Llaner (Cadaqués)'' (begun 1920) and ''Self-portrait'' | |||
| * 1922 '']'' and ''Night Walking Dreams'' | |||
| * 1923 ''Self Portrait with L'Humanite'' and ''Cubist Self Portrait with La Publicitat'' | |||
| * 1924 ''Still Life (Syphon and Bottle of Rum)'' (for ]) and ''Portrait of ]'' | |||
| * 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 ''Basket of Bread'' and ''Girl from Figueres'' | |||
| * 1927 ''Composition With Three Figures (Neo-Cubist Academy)'' and ''Honey is Sweeter Than Blood'' (his first important surrealist work) | |||
| * 1929 {{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 ] | |||
| * 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 ''Apparition of a Face and Fruit Dish on the Beach'' | |||
| * 1939 '']'' | |||
| * 1940 ''The Slave Market with Disappearing Bust of Voltaire,'' '']'' | |||
| * 1941 ''Honey is Sweeter than Blood'' | |||
| * 1943 ''The Poetry of America'' and ''Geopoliticus Child Watching the Birth of the New Man'' | |||
| * 1944 ''Galarina'' and '']'' | |||
| * 1944–1948 ''Hidden Faces'', a novel | |||
| * 1945, ''Basket of Bread—Rather Death Than Shame'' and ''Fountain of Milk Flowing Uselessly on Three Shoes''; This year Dalí collaborated with ] on a dream sequence to the film '']'', to mutual dissatisfaction. | |||
| * 1946 ''The Temptation of St. Anthony'' | |||
| * 1948 ''Les Elephants'' | |||
| * 1949 ''Leda Atomica'' and '']''. Dalí returned to Catalonia this year. | |||
| * 1951 '']'' and ''Exploding Raphaelesque Head''. | |||
| * 1952 ''Galatea of the Spheres'' | |||
| * 1954 '']'' (begun in 1952), '']'' and '']''. | |||
| * 1955 ''The Sacrament of the Last Supper'', ''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 Rose'' | |||
| * 1959 '']''. | |||
| * 1960 Dalí began work on the ] and ''Portrait of ], the Assistant to ]''. | |||
| * 1965 Dalí donates a gouache, 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=], ]}}</ref> | |||
| * 1967 '']'' | |||
| * 1969 ''] logo'' | |||
| * 1970 '']'', acquired in 1969 by ] before it was completed | |||
| * 1972 '']'' | |||
| * 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 completed his final painting, '']''. | |||
| * 2003 {{lang|es|'']''}}, an ] which was originally a collaboration between Dalí and ], is released. Production on {{lang|es|''Destino''}} began in 1945. | |||
| The largest collections of Dalí's work are at the ] in Figueres, Catalonia, Spain, followed by the ] in ], ] 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 ], ]. ] in ], ], ], as well as the ] in ], ], contain a large collection of his drawings and sculptures. | |||
| 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. The drawing was stolen in March 2003 and has not been recovered.<ref name="jail" /> | |||
| ==References== | |||
| {{reflist|2}} | |||
| ==External links== | |||
| {{Wikiquote}} | |||
| {{Commons|Salvador Dalí}} | |||
| ===Biographies and news=== | |||
| * —From the ] | |||
| * | |||
| * —Article from Bohème Magazine | |||
| * —Interview and bank advertisement. | |||
| * | |||
| * — A collection of interviews and footage of Dalí in the French television | |||
| ===Other links=== | |||
| * | |||
| * | |||
| * at LikeTelevision | |||
| * | |||
| * | |||
| *. | |||
| * | |||
| ===Exhibitions=== | |||
| * ]]—The unique permanent exhibition in France (Museum & Dalí Fine Art Galleries) | |||
| * | |||
| {{featured article}} | |||
| {{Persondata | |||
| |NAME=Dalí, Salvador | |||
| |ALTERNATIVE NAMES=Dalí, Salvador Felip Jacint, Domènech; Dalí, Salvador Felipe Jacinto, Domènech | |||
| |SHORT DESCRIPTION=20th century Catalan surrealist artist | |||
| |DATE OF BIRTH=] ] | |||
| |PLACE OF BIRTH=Figueres, Catalonia, Spain | |||
| |DATE OF DEATH=] ] | |||
| |PLACE OF DEATH=Figueres, Catalonia, Spain | |||
| }} | |||
| {{DEFAULTSORT:Dali, Salvador}} | |||
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Revision as of 21:07, 24 February 2008
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