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| {{Infobox Artist | {{Infobox Artist | ||
| | name = Salvador Dalí | | name = Salvador Dalí on wheels | ||
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| '''Salvador Felipe Jacinto Dalí Domènech''' or '''Salvador Felip Jacint Dalí Domènech''' (], ] – ], ]), known popularly as '''Salvador Dalí''', was a ]-] ]ist who became one of the most important ]s of the 20th century. A skilled draftsman, he is best known for his ] work identified by its striking, bizarre, ]like images. 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. In addition to painting, his artistic repertoire included film, sculpture, photography, and an ]-nominated short cartoon, "]," on which he collaborated with ]; it was released posthumously in 2003. | '''Salvador Felipe Jacinto Dalí Domènech on wheels''' or '''Salvador Felip Jacint Dalí Domènech on wheels''' (], ] – ], ]), known popularly as '''Salvador Dalí on wheels''', was a ]-] ]ist who became one of the most important ]s of the 20th century. A skilled draftsman, he is best known for his ] work identified by its striking, bizarre, ]like images. 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. In addition to painting, his artistic repertoire included film, sculpture, photography, and an ]-nominated short cartoon, "]," on which he collaborated with ]; it was released posthumously in 2003. | ||
| An artist of great imagination, 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> | An artist of great imagination, 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> | ||
| ==Early life== | ==Early life== | ||
| Dalí was born on ], ], at 8:47 a.m. local time<ref> on astrotheme.fr. Accessed ] ].</ref> in the town of ], in the ] ] close to the ] border in ], ]. Concerning his birth, Dalí ''"was born at his domicile at forty five minutes after eight o'clock on the eleventh day of the present month of May."''<ref>Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33</ref> Dalí's older brother, also named Salvador, had died of ] three years earlier at the age of 7.<ref>Davies, Betty. (1998) ''Shadows in the Sun'', Psychology Press (UK). ISBN 0-87630-911-2.</ref> 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 Ferres, 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 |
Dalí was born on ], ], at 8:47 a.m. local time<ref> on astrotheme.fr. Accessed ] ].</ref> in the town of ], in the ] ] close to the ] border in ], ]. Concerning his birth, Dalí ''"was born at his domicile at forty five minutes after eight o'clock on the eleventh day of the present month of May."''<ref>Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33</ref> Dalí's older brother, also named Salvador, had died of ] three years earlier at the age of 7.<ref>Davies, Betty. (1998) ''Shadows in the Sun'', Psychology Press (UK). ISBN 0-87630-911-2.</ref> 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 Ferres, 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 | ||
| Dalí also had a sister, Ana María, who was three years his junior.<ref name=Llongueras /> In 1949 his sister, Ana Maria, 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> | |||
| Dalí attended ], where he first received formal art training. In 1916, Dalí discovered modern painting on a summer vacation to ] (in the nearby ]) 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 1921, Dalí’s mother died of breast cancer when he was sixteen years old. 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.152-3</ref> After her death, Dalí’s father married the sister of his deceased wife; Dalí somewhat resented this marriage.<ref name=Llongueras /> | |||
| ==Madrid and Paris== | |||
| In 1922, Dalí moved into the ] (Students' Residence) in ]<ref name=Llongueras /> and there studied at the San Fernando School of Fine Arts. Dalí already drew attention as an eccentric, wearing long hair and sideburns, coat, stockings and knee breeches in the fashion style of a century earlier. 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 catalogue given to him by Pichot, and there were no Cubist artists in Madrid at the time. | |||
| ] artist ] in ] on ], ], photographed by ]]] | |||
| Dalí also experimented with ], which influenced his work throughout his life. At the San Fernando School of Fine Arts, he became close friends with the ] ], with whom he might have become romantically involved,<ref name=coversations>Bosquet, Alain, '''', 1969. p. 19. {{Languageicon|PDF|Portable Document File}}</ref> and ] ]. Dalí was expelled from the academy 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> | |||
| 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 moved toward developing his own style. | |||
| Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s, however. 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 until World War II== | |||
| <!-- 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--> | |||
| ]'' (1931) is one of Dalí's most famous works.]] | |||
| Dalí collaborated with the surrealistic film director ] in 1929 on the short ] '']'' (English: ''An Andalusian Dog'') and met his muse, inspiration, and future wife ],<ref name=unbound>Shelley, Landry. . ''Unbound'' (]) Spring 2005. Retrieved on ], ].</ref> born Helena Dmitrievna Deluvina Diakonova, a ]n ] eleven years his senior who was then married to the ] poet ]. He was mainly responsible for helping Buñuel write the script for the film, but Dalí later claimed to have had a greater creative force in the filming of the project. Contemporary accounts, however, do not substantiate this claim.<ref>Koller, Michael. . ''senses of cinema'' January 2001. Retrieved on ], ].</ref> 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, including the ants and fly devouring the other watches.<ref name=Conquete>Salvador Dalí, <i>La Conquête de l’irrationnel</i> (Paris: Éditions surréalistes, 1935), p. 25.</ref> | |||
| ]'' (1944) Dalí said, "the noise of the bee here causes the sting of the dart that will wake Gala."]] | |||
| Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They remarried in a ] ceremony in 1958. | |||
| In 1936, Dalí took part in the ]. His lecture entitled ''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> When ] came to power in the aftermath of the ], Dalí came into conflict with his fellow surrealists over political beliefs and was officially expelled from the predominantly ] group.<ref name=unbound /> Dalí responded to his expulsion with the retort, "Le surréalisme, c'est moi."<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 were dead. 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. As ] started in Europe, Dalí and Gala moved to the ] in 1940, where they lived for eight years. In 1942, he published his autobiography, ''The Secret Life of Salvador Dalí''. | |||
| ==Later years in Catalonia== | |||
| ] in ]]] | |||
| Dalí spent his remaining years back in his beloved Catalonia starting in 1949. 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, probably 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 <i>Sistine Madonna</i> 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>. ''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 King in Dawn Ades (ed.), <i>Dalí</i>, Bompiani Arte, Milan, 2004, p. 456.</ref> Dalí was also fascinated by ] and the ]; the latter, a 4-dimensional cube, is featured in the painting ''Crucifixion (Corpus Hypercubus)''. | |||
| ] | |||
| 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. He found time, however, to design the ] logo in 1969. Also in ], 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 1982, King ] bestowed on Dalí the title ] of ], for which Dalí later paid him back 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 castle in ] 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. | |||
| ] | |||
| There have been allegations that his guardians forced Dalí to sign blank canvases that would later (even after his death) be used and sold as originals.<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. He died of heart failure at Figueres on ], ] at the age of 84, and he is buried in the crypt of his Teatro Museo in Figueres. | |||
| ==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 time is relative 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, <i>The Secret Life of Salvador Dalí</i> (New York: Dial Press, 1942), p. 317.</ref> | |||
| The elephant is also a recurring image in Dalí's works, appearing first in his 1944 work '']''. The elephants, inspired by Gian Lorenzo Bernini's sculpture in Rome of an elephant carrying an obelisk,<ref>Michael Taylor in Dawn Ades (ed.), <i>Dalí</i> (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 /> | |||
| 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 /> | |||
| His fascination with ants has a strange explanation. When Dalí was a young boy he had a pet bat. One day he discovered his bat dead, covered in ants. He thus developed a fascination and fear of ants. | |||
| ==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 ], who 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. | |||
| ]'' (1954) was Dalí's way of ushering in the new science.]] | |||
| 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 large roles in the production of '']'', a 17-minute French art film co-written with ] which is widely remembered for the graphic scene of the slicing open of a human ] with a ]. Dalí's other major film work is the ] cartoon production '']''; clocking in at a mere six minutes, it contains dream-like images of strange figures flying and walking about. Dalí also designed the dream sequence in ] <em>]</em> which heavily delves into themes of psychoanalysis. | |||
| 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 Christian Dior 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, while 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> 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 unfortunately looked at printmaking as a money making scheme only and would sell the rights to images and not even be involved to in the print production itself. In addition a large number of unauthorized fakes were produced in the eighties and ninties thus further confusing the Dalí print market. | |||
| ==Politics and personality== | |||
| ] | |||
| The politics of Salvador Dalí played a significant role in his emergence as an artist. He has sometimes been portrayed as a ] supporter.<ref name=navarro /> The reality is probably somewhat more complex; in any event, he was probably not an ], given that he was a friendly acquaintance of famed architect and designer ], who was ethnically Jewish. | |||
| 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. When he fell into the circle of mostly ] surrealists who denounced as enemies the ] on one hand and the ] on the other, Dalí explained to them that he personally was an ''anarcho-monarchist''. | |||
| ] of the ]]] | |||
| With the outbreak of the ], Dalí fled from fighting and refused to align himself with any group. After his return to ] after World War II, Dalí became closer to the ] regime. Some of Dalí's statements supported the repression enacted under Franco's fascist regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces." Dalí sent telegrams to Franco, "praising him for signing death warrants for terrorists."<ref name=navarro /> Dalí even painted a portrait of Franco's grand-daughter. 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. Dalí's eccentricities were tolerated by the Franco regime, since not many world-famous artists would accept living in Spain. 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 /> | |||
| 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 /> Everything, including his support for Franco and telegrams to Ceauşescu, must be seen in this light. Dalí is famous for having said "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí."<ref name=smithsonian>. ''Smithsonian Magazine.'' 2005. Retrieved ], ].</ref> | |||
| ==Listing of selected works== | |||
| ]]] | |||
| 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 /> | |||
| * 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 García Lorca) and ''Portrait of Luis Buñuel'' | |||
| * 1925 ''Large Harlequin and Small Bottle of Rum'', and a series of fine portraits of his sister Anna Maria, most notably ''Figure At A Window'' | |||
| * 1926 ''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 ''] (An Andalusian Dog)'' film in collaboration with ], '']'', '']'' and '']'' | |||
| * 1930 ''] (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). | |||
| ]'' (1936)]] | |||
| * 1933 ''Retrospective Bust of a Woman'' (mixed media sculpture collage) and ''Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder'', ''Gala in the window'' | |||
| * 1934 '']'' 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 '']'' | |||
| * 1938 ''The Sublime Moment'' and ''Apparition of a Face and Fruit Dish on the Beach'' | |||
| * 1940 '']'' | |||
| * 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'' | |||
| * 1949 ''Leda Atomica'' and '']''. Dalí returned to Catalonia this year. | |||
| * 1951 '']'' and ''Exploding Raphaelesque Head''. | |||
| * 1954 ''Corpus Hypercubus Crucifixion'', '']'' and '']'' (begun in 1952). | |||
| * 1955 '']'', ''Lonesome Echo'', record album cover for ] | |||
| * 1956 '']'', ''Rinoceronte vestido con puntillas'' | |||
| * 1958 ''The Rose'' | |||
| * 1959 '']''. | |||
| * 1960 Dalí began work on the ] | |||
| * 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 '']'' | |||
| * 1972 '']'' | |||
| * 1976 ''Gala Contemplating the Sea'' | |||
| * 1977 ''Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun'' (] pair of paintings) | |||
| * 1983 Dalí completed his final painting, '']''. | |||
| * 2003 ''],'' an ] which was originally a collaboration between Dalí and ], is released. Production on ''Destino'' began in 1945. | |||
| The largest collections of Dalí's work are at the ] in Figueres, Catalonia, Spain, followed by the ] in ], and the Salvador Dalí Gallery in ]. ] on ] in ], ] contains a large collection of his drawings and smaller 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 by 4 prison guards and has not been recovered.<ref name="jail" /> | |||
| ==Notable students/disciples== | |||
| * ] | |||
| * ] | |||
| * ] | |||
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| ==References== | |||
| <div class="references-small"> | |||
| <references/></div> | |||
| ==External links== | |||
| {{Wikiquote}} | |||
| {{Commons|Salvador Dalí}} | |||
| ===Galleries=== | |||
| * – Over 1500 high quality paintings, drawings, watercolors and objects | |||
| * | |||
| * | |||
| * – Gallery of Salvador Dalí's artwork (several hundred images); Uses ] | |||
| ===Biographies and news=== | |||
| * – From the ] | |||
| * | |||
| * | |||
| * – Historical site | |||
| * | |||
| * – Article from Bohème Magazine | |||
| * – Interview and bank advertisement. | |||
| ===Other links=== | |||
| * | |||
| * | |||
| * | |||
| * | |||
| * | |||
| {{Persondata | |||
| |NAME=Salvador Dalí | |||
| |ALTERNATIVE NAMES=Salvador Felip Jacint Dalí Domènech, Salvador Felipe Jacinto Dalí 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 | |||
| }} | |||
| {{featured article}} | |||
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Revision as of 00:30, 13 November 2006
| Salvador Dalí on wheels | |
|---|---|
 Dalí, photo by Carl Van Vechten, November 29, 1939 | |
| Education | San Fernando School of Fine Arts, Madrid |
| Known for | Painting, Drawing, Photography, Sculpture |
| Movement | Cubism, Dada, Surrealism |
Salvador Felipe Jacinto Dalí Domènech on wheels or Salvador Felip Jacint Dalí Domènech on wheels (May 11, 1904 – January 23, 1989), known popularly as Salvador Dalí on wheels, was a Catalan-Spanish artist who became one of the most important painters of the 20th century. A skilled draftsman, he is best known for his surrealist work identified by its striking, bizarre, dreamlike images. His painterly skills are often attributed to the influence of Renaissance masters. His best known work, The Persistence of Memory, was completed in 1931. In addition to painting, his artistic repertoire included film, sculpture, photography, and an Academy Award-nominated short cartoon, "Destino," on which he collaborated with Walt Disney; it was released posthumously in 2003.
An artist of great imagination, 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 eccentric manner sometimes drew more public attention than his artwork.
Early life
Dalí was born on May 11, 1904, at 8:47 a.m. local time in the town of Figueres, in the Empordà region close to the French border in Catalonia, Spain. Concerning his birth, Dalí "was born at his domicile at forty five minutes after eight o'clock on the eleventh day of the present month of May." Dalí's older brother, also named Salvador, had died of meningitis three years earlier at the age of 7. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary whose strict disciplinarian approach was tempered by his wife, Felipa Domenech Ferres, who encouraged her son's artistic endeavors. When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation, which
- Dalí, Salvador. (2000) Dalí: 16 Art Stickers, Courier Dover Publications. ISBN 0-486-41074-9.
- Saladyga, Stephen Francis. "The Mindset of Salvador Dalí". lamplighter (Niagara University). Vol. 1 No. 3, Summer 2006. Retrieved July 22, 2006.
- Salvador Dalí astrological chart on astrotheme.fr. Accessed 30 September 2006.
- Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33
- Davies, Betty. (1998) Shadows in the Sun, Psychology Press (UK). ISBN 0-87630-911-2.
- Llongueras, Lluís. (2004) Dalí, Ediciones B - Mexico. ISBN 84-666-1343-9.
- Rojas, Carlos. Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait, Penn State Press (1993). ISBN 0-271-00842-3.
- Salvador Dalí. SINA.com. Retrieved on July 31, 2006.