Salvador Dalí,( in full Salvador Felipe Jacinto Dalí y Domenech) (1904-1989), was a Spanish Surrealist painter and printmaker, influential for his explorations of subconscious imagery.
As an art student in Madrid and Barcelona, Dalí assimilated a vast number of artistic styles and displayed unusual technical facility as a painter. It was not until the late 1920s, however, that two events brought about the development of his mature artistic style: his discovery of Sigmund Freud’s writings on the erotic significance of subconscious imagery and his affiliation with the Paris Surrealists, a group of artists and writers who sought to establish the “greater reality” of the human subconscious over reason. To bring up images from his subconscious mind, Dalí began to induce hallucinatory states in himself by a process he described as “paranoiac critical.”
Once Dalí hit on that method, his painting style matured with extraordinary rapidity, and from 1929 to 1937 he produced the paintings which made him the world’s best-known Surrealist artist. He depicted a dream world in which commonplace objects are juxtaposed, deformed, or otherwise metamorphosed in a bizarre and irrational fashion. Dalí portrayed those objects in meticulous, almost painfully realistic detail and usually placed them within bleak sunlit landscapes that were reminiscent of his Catalonian homeland. Perhaps the most famous of those enigmatic images is The Persistence of Memory (1931), in which limp melting watches rest in an eerily calm landscape. With the Spanish director Luis Buñuel, Dalí made two Surrealistic films—Un Chien Andalou (1929; An Andalusian Dog) and L’Âge d'Or (1930; The Golden Age)—that are similarly filled with grotesque but highly suggestive images.
In the late 1930s, Dalí switched to painting in a more-academic style under the influence of the Renaissance painter Raphael. His ambivalent political views during the rise of fascism alienated his Surrealist colleagues, and he was eventually expelled from the group. Thereafter, he spent much of his time designing theatre sets, interiors of fashionable shops, and jewelry as well as exhibiting his genius for flamboyant self-promotional stunts in the United States, where he lived from 1940 to 1955. In the period from 1950 to 1970, Dalí painted many works with religious themes, though he continued to explore erotic subjects, to represent childhood memories, and to use themes centering on his wife, Gala. Notwithstanding their technical accomplishments, those later paintings are not as highly regarded as the artist’s earlier works. The most interesting and revealing of Dalí’s books is The Secret Life of Salvador Dalí (1942).
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Salvador Dalí or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
As an art student in Madrid and Barcelona, Dalí assimilated a vast number of artistic styles and displayed unusual technical facility as a painter. It was not until the late 1920s, however, that two events brought about the development of his mature artistic style: his discovery of Sigmund Freud’s writings on the erotic significance of subconscious imagery and his affiliation with the Paris Surrealists, a group of artists and writers who sought to establish the “greater reality” of the human subconscious over reason. To bring up images from his subconscious mind, Dalí began to induce hallucinatory states in himself by a process he described as “paranoiac critical.”
Once Dalí hit on that method, his painting style matured with extraordinary rapidity, and from 1929 to 1937 he produced the paintings which made him the world’s best-known Surrealist artist. He depicted a dream world in which commonplace objects are juxtaposed, deformed, or otherwise metamorphosed in a bizarre and irrational fashion. Dalí portrayed those objects in meticulous, almost painfully realistic detail and usually placed them within bleak sunlit landscapes that were reminiscent of his Catalonian homeland. Perhaps the most famous of those enigmatic images is The Persistence of Memory (1931), in which limp melting watches rest in an eerily calm landscape. With the Spanish director Luis Buñuel, Dalí made two Surrealistic films—Un Chien Andalou (1929; An Andalusian Dog) and L’Âge d'Or (1930; The Golden Age)—that are similarly filled with grotesque but highly suggestive images.
In the late 1930s, Dalí switched to painting in a more-academic style under the influence of the Renaissance painter Raphael. His ambivalent political views during the rise of fascism alienated his Surrealist colleagues, and he was eventually expelled from the group. Thereafter, he spent much of his time designing theatre sets, interiors of fashionable shops, and jewelry as well as exhibiting his genius for flamboyant self-promotional stunts in the United States, where he lived from 1940 to 1955. In the period from 1950 to 1970, Dalí painted many works with religious themes, though he continued to explore erotic subjects, to represent childhood memories, and to use themes centering on his wife, Gala. Notwithstanding their technical accomplishments, those later paintings are not as highly regarded as the artist’s earlier works. The most interesting and revealing of Dalí’s books is The Secret Life of Salvador Dalí (1942).
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Salvador Dalí or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
 |
| Mr. Salvador Dalí |
 |
| Salvador Dalí with his wife and frequent model, Gala |
 |
| 1918-19, View of Portdogué |
 |
| 1922, Still life (Pulso y Scorpa) |
 |
| 1923, Portrait of my sister |
 |
| 1924, Bouquet (L'important c'est la rose) |
 |
| 1924, Still life (Sandia) |
 |
| 1925, Venus and Sailor |
 |
| 1926, Femme couchée |
 |
| 1926, Girl with curls |
 |
| 1927, Apparatus and hand |
 |
| 1928, L'ane pourri |
 |
| 1928, The Ram (Vache spectrale) |
 |
| 1929, The Great Masturbator |
 |
| 1930, Dormeuse, cheval, lion invisibles |
 |
| 1930, the hand |
 |
| 1931, The Persistence of Memory |
 |
| 1932, Suez |
 |
| 1932, The Invisible Man |
 |
| 1932-34, Untitled (Persistence of fair weather |
 |
| 1933, Myself at the age of ten when I was the grasshopper child |
 |
| 1933-34, Meditation on the harp |
 |
| 1934, Surrealist poster |
 |
| 1934, The Ghost of Vermeer of Death which can be used as a table |
 |
| 1935, The Echo of the Vold |
 |
| 1936-36, Paranoia |
 |
| 1937, Sleep |
 |
| 1938, Enchanted beach with three fluid graces |
 |
| 1938, Lobster Telephone |
 |
| 1942, Portrait of Dorothy Spreckels Munn |
 |
| 1942, The Sheep |
 |
| 1942-54, The Disintegration of the persistence of memory |
 |
| 1944, Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening |
 |
| 1944, Sentimental Colloquy |
 |
| 1945, Autumn Sonata |
 |
| 1945, The broken bridge and the dream |
 |
| 1946, The Temptation of St. Anthony |
 |
| 1947-49, Lada Atomica |
 |
| 1951, Women forming a skull |
 |
| 1952, Eucharistic still life |
 |
| 1956, Nature Morte Vivante |
 |
| 1958, Velasquez painting the infanta margarita with the lights and shadows of his own glory |
 |
| 1958-59, The discovery of America by Christopher Columbus |
 |
| 1960, The ecumenical council |
 |
| 1963, Portrait of my dead brother |
 |
| 1969-70, The Hallucinogenic toreador |
 |
| 1973-74, Christ of St. John |
 |
| 1976, Abraham lincoln Hommage to Rothko (Second version) |
 |
| Retrospective Bust of a Woman |
No comments:
Post a Comment