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152 pages

English

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Extrait

Description

Salvador Dalí (1904-1989) is best known for his unique and striking style with an extraordinary repertoire reaching out across film, painting, photography, and sculpture. Whilst his name may be most commonly associated with Surrealism, Dalí consummately displayed mastery over such broad genres as classical, modernist, and Cubist styles. A crucial figure in art history, Dalí has inspired countless literary works and this edifying Best Of volume gives readers a fascinating insight into the life and career highlights of one of art’s most controversial and exciting pioneers.

Sujets

Sculpture

Spanish

Painting

Modern

Art

Modern history

Surrealism

Eccentricity

Artist

Salvador Dalí

Obermodern-Zutzendorf

Peinture

Informations

Publié par	Parkstone International
Date de parution	04 juillet 2023
Nombre de lectures	2
EAN13	9781783102914
Langue	English

Informations légales : prix de location à la page 0,0750€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Author:
Eric Shanes

Layout:
Baseline Co. Ltd
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4 th Floor
District 3, Ho Chi Minh City
Vietnam

Library of Congress Control Number: 2014936060

© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
Image-Bar www.image-bar.com

All rights reserved.
No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

ISBN: 978-1-78310-291-4
Eric Shanes

Salvador Dalí

Contents

Introduction
The Masterworks
Selected Bibliography
Chronology

A
The Angel of Port Lligat, 1952.
Angelus, c. 1932.
The Angelus, 1857-1859 , Jean-François Millet .
The Anthropomorphic Cabinet, 1936
The Apotheosis of Homer, 1944-1945
Apparatus and Hand, 1927
Apparition of Face and Fruit Dish on a Beach, 1938
The Architectonic Angelus of Millet, 1933
Atavistic Vestiges after the Rain, 1934

B
Bather, 1928
Birth of Liquid Desires, 1931-1932
The Burning Giraffe, 1937

C
Christ of St John of the Cross, 1951
The Colossus of Rhodes, 1954
A Couple with their Heads Full of Clouds, 1936
Cover Design for Minotaure No. 8, 1936.
Cubist Self-Portrait, 1923

D
Dali Seen from the Back Painting Gala from the Back Eternalized by Six Virtual Corneas Provisionally Reflected in Six Real Mirrors (unfinished), 1972-1973.
Debris of an Automobile Giving Birth to a Blind Horse Biting a Telephone, 1938.
Dematerialization Near the Nose of Nero, 1947.
Design for the Interior Decoration of Stable-Library, 1942
The Discovery of America by Christopher Columbus, 1954
The Disintegration of Persistence of Memory, 1952-1954
The Dream, 1931
Dream Caused by the Flight of a Bee around a Pomegranate One Second Before Awakening, 1944

E
Eggs on the Plate without the Plate, 1932.
The Enigma of Desire: My Mother, My Mother, My Mother, 1929
The Enigma of Hitler, 1939
The Enigma of William Tell, 1933
Equestrian Portrait of Carmen Bordiu-Franco, 1974.
Exploding Raphaelesque Head, 1951
The Eye (design for Spellbound), 1945.

F
The Face of Mae West (Useable as a Surrealist Apartment), 1934-1935
Fifty Abstract Paintings Which as Seen from Two Yards Change into Three Lenins Masquerading as Chinese and as Seen from Six Yards Appear as the Head of a Royal Bengal Tiger, 1963
Figure at a Window, 1925
The First Days of Spring, 1929

G
Gala and the Angelus of Millet Preceding the Imminent Arrival of the Conic Anamorphoses, 1933
Gala ’ s Castle at Púbol, 1973.
Geological Destiny, 1933.
The Girl of Figueres, 1926
Gradiva, 1933.
The Great Masturbator, 1929
The Great Paranoiac, 1936

H
The Hallucinogenic Toreador, 1969-1970
Hats Designed for Elsa Schiaparelli, 1936.
Helena Rubinstein ’ s Head Emerging from a Rocky Cliff, 1942-1943
Hercules Lifts the Skin of the Sea and Stops Venus for an Instant from waking Love, 1963
Honey is Sweeter than Blood, 1941.

I
Impressions of Africa, 1938
Invisible Sleeping Woman, Horse, Lion, 1930

L
Landscape near Cadaqués, 1920-1921
Leda Atomica, 1949
Lobster Telephone, 1938

M
Mad Mad Mad Minerva, 1968.
The Madonna of Port Lligat, 1950
The Maximum Speed of Raphael ’ s Madonna, 1954.
Metamorphosis of Narcissus, 1937
Morphological Echo, 1936
My Wife, Nude, Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky and Architecture, 1945.

N
Napoleon ’ s Nose, Transformed into a Pregnant Woman, Walking His Shadow with Melancholia Amongst Original Ruins, 1945.
Night and Day Clothes of the Body, 1936.

P
Partial Hallucination. Six Apparitions of Lenin on a Grand Piano, 1931
Penya-Segats (Woman by the Cliffs), 1926.
The Perpignan Railway Station, 1965
The Persistence of Memory, 1931
The Pharmacist of Ampurdàn in Search of Absolutely Nothing, 1936
Poetry of America, 1943.
Port of Cadaqués at Night, c. 1918
Portrait of Gala, 1935
Portrait of Gala with Two Lamb Chops Balanced on Her Shoulder, 1933.
Portrait of Isabel Styler-Tas, 1945
Portrait of Luis Buñuel, 1924
Portrait of Maria Carbona, 1925.
Portrait of My Dead Brother, 1963
Portrait of Paul Éluard, 1929
Portrait of Picasso, 1947
Portrait of Sir Laurence Olivier in the Role of King Richard III, 1955
Portrait of the Vicomtesse Marie-Laure de Noailles, 1932
Premature Ossification of a Railway Station, 1930

S
The Sacrament of the Last Supper, 1955
The Sacred Heart (Sometimes I Spit with Pleasure on the Portrait of My Mother), 1929
Santiago El Grande, 1957
Satirical Composition ( ‘ The Dance ’ by Matisse), 1923
Self-Portrait with the Neck of Raphael, 1921.
Shades of Night Descending, 1931
The Sheep, 1942
Singularities, 1937.
The Slave Market with the Disappearing Bust of Voltaire, 1940
Sleep, 1937
Sofa in the Form of Mae West ’ s Lips, 1938
Soft Construction with Boiled BEANS – Premonition of Civil War, 1936
Soft Self-Portrait with Grilled Bacon, 1941
Soft Skulls with Fried Egg without the Plate, Angels, and Soft Watch in an Angelic Landscape, 1977.
Spain, 1938
The Spectral Cow, 1928.
The Sublime Moment, 1938
Surrealist Architecture, c. 1932
Surrealist Horse – Woman-Horse, 1933.
The Swallow ’ s Tail (Series on Catastrophes), 1983
Swans Reflecting Elephants, 1937

T
The Temptation of St Anthony, 1946
Three Young Surrealist Women Holding in Their Arms the Skin of an Orchestra, 1936.
Tristan and Isolde (design for the ballet Mad Tristan), 1944.
Tuna Fishing, 1967.

U
Unsatisfied Desires, 1928
Unstill Still Life, 1956

V
Venus de Milo with Drawers, 1936
Visage of War, 1940

W
Weaning of Furniture Nutrition, 1934
William Tell, 1930
Wind Palace, 1972.
The Wounded Bird, 1928
Wounded Soft Watch, 1974.

Y
Young Virgin Autosodomised by Her Own Chastity, 1954
Self-Portrait with the Neck of Raphael, 1921.
Oil on canvas, 41.5 x 53 cm .
Teatre-Museu Dalí, Figueres.
Introduction

It is perhaps unsurprising that Salvador Dalí has proven to be one of the most popular artists of the 20 th century, for his finest works explore universal and timeless states of mind, and most of his pictures were painted with a mastery of traditional representation that has proven rare in our time. For many people, that acute realism alone would have sufficed to attract them to Dalí’s work, and it has certainly served to mask any gradual lessening of quality in his art. Moreover, Dalí was also probably the greatest artistic self-publicist in a century in which (as Igor Stravinsky commented in 1970) publicity gradually became “about all that is left of the arts”. In this respect he was in a class of his own for much of his lifetime, as was his brilliant wife and co-publicist, Gala.

Yet Dalí’s immense popularity is also rather ironic, for his work – in its finest phase, at least – constitutes an attack on the social, sexual, and cultural mores of the very society that feted him. The notion that an artist should be culturally subversive has proven central to modernist art practice, and it was certainly essential to Surrealism, which aimed to subvert the supposedly rational basis of society itself. In time, Dalí’s subversiveness softened, and by the mid-1940s André Breton, the leading spokesman for Surrealism, was perhaps justifiably dismissing the painter as a mere showman and betrayer of Surrealist intentions. But although there was a sea change in Dalí’s art after about 1940, his earlier work certainly retains its ability to bewilder, shock, and intrigue, whilst also dealing inventively with the nature of reality and appearances. Similarly, Dalí’s behaviour as an artist after about 1940 throws light on the basically superficial culture that sustained him, and this too seems worth touching upon, if only for that which it can tell us about the man behind the myths that Salvador Dalí projected about himself.

Salvador Domingo Felipe Jacinto Dalí i Domènech was born on 11 May 1904 in Figueres, a small town in the Catalan province of Gerona in northern Spain, the son of Salvador Dalí i Cusi and Felipa Domènech. Dalí senior was the public notary of Figueres and, as such, an important and widely respected local official. He was a very forceful man, and it was rumoured that he had been responsible for the death of Dalí’s elder brother, also named Salvador, who had been born in 1901 and who died in 1903; officially the death was caused by catarrh and gastroenteritis but according to Dalí, his older brother died of meningitis that had possibly been brought on by a blow to the head. Certainly that death left Dalí’s parents with an inescapable sense of anguish, and the young Dalí was always aware of the demise because both parents constantly projected his lost brother onto him, every day making comparisons between the two boys, dressing the younger Salvador in his deceased brother’s clothes, giving him the same toys to play with, and generally treating him as the reincarnation of his departed brother, rather than as a person in his own right.

Faced with such a denial of self, Dalí understandably mutinied in an assertion of his own identity, whilst equally rebelling against the perfected image of the dead brother which his parents attempted to impose upon him. Thus the painter later recounted that, “Each day I looked for a new way of bringing my father to a paroxysm of rage or fear or humiliation and forcing him to consider me, his son, me Salvador, as an object of dislike and shame. I threw him off, I amazed him, I provoked him, defied him more and more.” If Dalí’s later claims are to be taken seriously, among other things his r