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SALVADOR DALí/ 2011
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 3 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0240 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"At the age of six I wanted to be a cook. At seven I wanted to be Napoleon. And my ambition has been growing steadily ever since."
- Salvador Dalí
Salvador Dalí -
Salvador Domènec Felipe Jacinto Dalí i Domènech, Marquis de Púbol (May 11, 1904 – January 23, 1989), commonly known as Salvador Dalí (Catalan pronunciation: [səɫβəˈðo ðəˈɫi]), was a prominent Spanish surrealist painter born in Figueres, Spain.
Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.[1][2] His best-known work, The Persistence of Memory, was completed in 1931. Dalí's expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media.
Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[3] to a self-styled "Arab lineage", claiming that his ancestors were descended from the Moors.
Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior. 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.[4]
Biography -
Madrid and Paris:
Wild-eyed antics of Dalí (left) and fellow surrealist artist Man Ray in Paris on June 16, 1934.
In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid[7] and studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m (5 ft. 7¾ in.) tall,[14] Dalí already drew attention as an eccentric and dandy. He wore long hair and sideburns, coat, stockings, and knee breeches in the style of English aesthetes of the late 19th century.
At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca. The friendship with Lorca had a strong element of mutual passion,[15] but Dalí rejected the poet's sexual advances.[16]
However it was his paintings in which he experimented with Cubism that earned him the most attention from his fellow students. At the time of these early works, Dalí probably did not completely understand the Cubist movement. His only information on Cubist art came from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time. In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem "Les bruixes de Llers" ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced his work throughout his life.
Dalí was expelled from the Academia in 1926, shortly before his final exams when he was accused of starting an unrest.[17] His mastery of painting skills was evidenced by his realistic Basket of Bread, painted in 1926.[18] That same year, he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró. As he developed his own style over the next few years Dalí made a number of works heavily influenced by Picasso and Miró.
Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic, to the most cutting-edge avant garde.[19] His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer, and Velázquez.[20] He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.
Dalí grew a flamboyant moustache, influenced by seventeenth-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life.
1929 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.[21] Also, in August 1929, Dalí met his muse, inspiration, and future wife Gala,[22] 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 the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called the paranoiac-critical method of accessing the subconscious for greater artistic creativity.[7][8]
Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The last straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the "Sacred Heart of Jesus Christ", with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait."[23]
Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on December 28, 1929. His father told him that he would disinherit him, and that he should never set foot in Cadaquès again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He bought the place, and over the years enlarged it, gradually building his much beloved villa by the sea.
In 1931, Dalí painted one of his most famous works, The Persistence of Memory,[24] which introduced a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and the other limp watches, shown being devoured by ants.[25]
Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They later remarried in a Catholic ceremony in 1958.
Dalí was introduced to America by art dealer Julian Levy in 1934. The exhibition in New York of Dalí's works, including Persistence of Memory, created an immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball." He showed up wearing a glass case on his chest, which contained a brassiere.[26] In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act.[27]
While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention."[28] Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism.[citation needed] 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.[22] To this, Dalí retorted, "I myself am surrealism."[17]
In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, titled Fantomes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet.[29] 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."[30]
Also in 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julian 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 Museum of Modern Art, 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!"[31]
At this stage, Dalí's main patron in London was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.[citation needed]
In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig. Later, 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.[32][33] La Pausa has been partially replicated at the Dallas Museum of Art to welcome the Reves collection and part of Chanel's original furniture for the house.[34]
In 1939, Breton coined the derogatory nickname "Avida Dollars", an anagram for Salvador Dalí, and a phonetic rendering of the French avide à dollars, which may be translated as "eager for dollars".[35] 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. Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead.[citation needed] The Surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death and beyond.
Notes:
1. ^ "Phelan, Joseph, ',The Salvador Dalí Show". Artcyclopedia.com. Retrieved August 22, 2010.
2. ^ a b Dalí, Salvador. (2000) Dalí: 16 Art Stickers, Courier Dover Publications. ISBN 0-486-41074-9.
3. ^ Ian Gibson (1997). The Shameful Life of Salvador Dalí. W. W. Norton & Company. Gibson found out that "Dalí" (and its many variants) is an extremely common surname in Arab countries like Morocco, Tunisia, Algeria or Egypt. On the other hand, also according to Gibson, Dalí's mother family, the Domènech of Barcelona, had Jewish roots.
4. ^ Saladyga, Stephen Francis. "The Mindset of Salvador Dalí". lamplighter (Niagara University). Vol. 1 No. 3, Summer 2006. Retrieved July 22, 2006.
7. ^ a b c d e f Llongueras, Lluís. (2004) Dalí, Ediciones B – Mexico. ISBN 84-666-1343-9.
8. ^ a b Rojas, Carlos. Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait, Penn State Press (1993). ISBN 0-271-00842-3.
14. ^ As listed in his prison record of 1924, aged 20. However, his hairdresser and biographer, Luis Llongueras, states Dalí was 1.74 m (5 ft 8 1⁄2 in) tall.
15. ^ 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.
16. ^ a b Bosquet, Alain, Conversations with Dalí, 1969. p. 19–20. (PDF format) (of García 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. He eventually bagged a young girl, and she replaced me in the sacrifice. Failing to get me to put my ass at his disposal, he swore that the girl's sacrifice was matched by his own: it was the first time he had ever slept with a woman.'
17. ^ a b c Salvador Dalí: Olga's Gallery. Retrieved on July 22, 2006.
18. ^ "Paintings Gallery No. 5". Dali-gallery.com. Retrieved August 22, 2010.
19. ^ 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.
20. ^ "Phelan, Joseph". Artcyclopedia.com. Retrieved August 22, 2010.
21. ^ Koller, Michael. Un Chien Andalou. senses of cinema January 2001. Retrieved on July 26, 2006.
22. ^ a b c Shelley, Landry. "Dalí Wows Crowd in Philadelphia". Unbound (The College of New Jersey) Spring 2005. Retrieved on July 22, 2006.
23. ^ Gibson, Ian (1997). The shameful life of Salvador Dalí. London: Faber and Faber. pp. 238–9. ISBN 0-571-19380-3.
24. ^ Clocking in with Salvador Dalí: Salvador Dalí's Melting Watches (PDF) from the Salvador Dalí Museum. Retrieved on August 19, 2006.
25. ^ a b Salvador Dalí, La Conquête de l'irrationnel (Paris: Éditions surréalistes, 1935), p. 25.
26. ^ Current Biography 1940, pp219–220
27. ^ Luis Buñuel, My Last Sigh: The Autobiography of Luis Buñuel, Vintage 1984. ISBN 0816643873
28. ^ Greeley, Robin Adèle (2006). Surrealism and the Spanish Civil War, Yale University Press. p. 81. ISBN 0-300-11295-5.
29. ^ Jackaman, Rob. (1989) The Course of English Surrealist Poetry Since the 1930s, Edwin Mellen Press. ISBN 0-88946-932-6.
30. ^ Current Biography 1940, p219
31. ^ "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. Retrieved August 22, 2010.
32. ^ Salvador Dalí Exhibition, Exhibition Catalogue – February 16 through May 15, 2005
33. ^ http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm
34. ^ Bretell, Richard R. (1995). Impressionist paintings, drawings, and sculpture from the Wendy and Emery Reeves Collection. Dallas Museum of Art. ISBN 9780936227153.
35. ^ a b Artcyclopedia: Salvador Dalí. Retrieved September 4, 2006.
-http://en.wikipedia.org/wiki/Salvador_Dal%C3%AD
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