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Salvador Dalí

January 12, 2023

For other uses, see Salvador Dalí (disambiguation).

In this Catalan name, the first or paternal surname is Dalí and the second or maternal family name is Domènech; both are generally joined by the conjunction "i".

Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol[a] gcYC (11 May 1904 – 23 January 1989), known as Salvador Dalí (/ˈdɑːli, dɑːˈliː/ DAH-lee, dah-LEE,[1] Catalan: [səlβəˈðo ðəˈli], Spanish: [salβaˈðoɾ ðaˈli]),[b] was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work.

The Most Illustrious

Salvador Dalí, Marquess of Dalí of Púbol

gcYC
Dalí in 1939
Born
Salvador Domingo Felipe Jacinto Dalí i Domènech

(1904-05-11)11 May 1904
Figueres, Catalonia, Spain
Died23 January 1989(1989-01-23) (aged 84)
Figueres, Catalonia, Spain
Resting placeCrypt at Dalí Theatre and Museum, Figueres
EducationSan Fernando School of Fine Arts, Madrid, Spain
Known forPainting, drawing, photography, sculpture, writing, film, and jewelry
Notable work
MovementCubism, Dada, Surrealism
Spouse
​
​
(m. 1934; d. 1982)​

Born in Figueres, Catalonia, Spain, Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age he became increasingly attracted to Cubism and avant-garde movements.[2] He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931, and is one of the most famous Surrealist paintings. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments.[3]

Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork.[4][5] His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial.[6] His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst.[7][8]

There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida.

Biography

Early life

 
The Dalí family in 1910: from the upper left, aunt Maria Teresa, mother, father, Salvador Dalí, aunt Caterina (later became the second wife of father), sister Anna Maria and grandmother Anna

Salvador Dalí was born on 11 May 1904, at 8:45 am,[9] on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.[10] Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950)[11] was a middle-class lawyer and notary,[12] an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921),[13] who encouraged her son's artistic endeavors.[14] In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10).[15][16] Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[17] to an "Arab lineage", claiming that his ancestors were descendants of the Moors.[5][18]

Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí said of him, "[we] resembled each other like two drops of water, but we had different reflections."[19] He "was probably the first version of myself but conceived too much in the absolute".[19] Images of his brother would reappear in his later works, including Portrait of My Dead Brother (1963).[20]

Dalí also had a sister, Anna Maria, who was three years younger.[12] In 1949, she published a book about her brother, Dalí as Seen by His Sister.[21][22]

His childhood friends included future FC Barcelona footballers Emili Sagi-Barba and Josep Samitier. During holidays at the Catalan resort town of Cadaqués, the trio played football together.[23]

Dalí attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.[12] 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 Theatre in Figueres in 1918,[24] a site he would return to decades later. In early 1921 the Pichot family introduced Dalí to Futurism. That same year, Dalí's uncle Anselm Domènech, who owned a bookshop in Barcelona, supplied him with books and magazines on Cubism and contemporary art.[25]

On 6 February 1921, Dalí's mother died of uterine cancer.[26] Dalí was 16 years old and 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."[5][27] After the death of Dali's mother, Dalí's father married her sister. Dalí did not resent this marriage, because he had great love and respect for his aunt.[12]

Madrid, Barcelona and Paris

 
Dalí with Federico García Lorca, Turó Park de la Guineueta, Barcelona, 1925

In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid[12] and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts). A lean 1.72 metres (5 ft 7+3⁄4 in) tall,[28] Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century.[29]

At the Residencia, he became close friends with Pepín Bello, Luis Buñuel, Federico García Lorca, and others associated with the Madrid avant-garde group Ultra.[30] The friendship with Lorca had a strong element of mutual passion,[31] but Dalí said he rejected the poet's sexual advances.[32] Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at the hands of Nationalist forces in 1936 at the beginning of the Spanish Civil War.[6]

Also in 1922, he began what would become a lifelong relationship with the Prado Museum, which he felt was, 'incontestably the best museum of old paintings in the world.'[33] Each Sunday morning, Dalí went to the Prado to study the works of the great masters. 'This was the start of a monk-like period for me, devoted entirely to solitary work: visits to the Prado, where, pencil in hand, I analyzed all of the great masterpieces, studio work, models, research.'[34]

 
Dalí (left) and fellow surrealist artist Man Ray in Paris on 16 June 1934

Those paintings by Dalí in which he experimented with Cubism earned him the most attention from his fellow students, since there were no Cubist artists in Madrid at the time.[35] Cabaret Scene (1922) is a typical example of such work. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including Dada and Futurism. One of his earliest works to show a strong Futurist and Cubist influence was the watercolor Night-Walking Dreams (1922).[36] At this time, Dalí also read Freud and Lautréamont who were to have a profound influence on his work.[37]

In May 1925 Dalí exhibited eleven works in a group exhibition held by the newly formed Sociedad Ibérica de Artistas in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. Several leading critics praised his work.[38] Dalí held his first solo exhibition at Galeries Dalmau in Barcelona, from 14 to 27 November 1925.[39][40] This exhibition, before his exposure to Surrealism, included twenty-two works and was a critical and commercial success.[41]

In April 1926 Dalí made his first trip to Paris where he met Pablo Picasso, whom he revered.[5] Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who later introduced him to many Surrealist friends.[5] As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró.[42] Dalí was also influenced by the work of Yves Tanguy, and he later allegedly told Tanguy's niece, "I pinched everything from your uncle Yves."[43]

Dalí left the Royal Academy in 1926, shortly before his final exams.[5] His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926.[44]

Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic Sebastià Gasch [es].[45][46] The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with Composition with Three Figures (Neo-Cubist Academy) singled out for particular attention.[47]

 
The Great Masturbator (1929). oil on canvas, 110 cm × 150 cm., Museo Nacional Centro de Arte Reina Sofía

From 1927 Dalí's work became increasingly influenced by Surrealism. Two of these works, Honey is Sweeter than Blood (1927) and Gadget and Hand (1927), were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, Honey is Sweeter than Blood, as "equidistant between Cubism and Surrealism".[48] The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among the public and debate among critics about whether Dalí had become a Surrealist.[49]

Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work. He submitted Dialogue on the Beach (Unsatisfied Desires) (1928) to the Barcelona Autumn Salon for 1928 but the work was rejected because "it was not fit to be exhibited in any gallery habitually visited by the numerous public little prepared for certain surprises."[50] The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dalí.[51]

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge avant-garde.[52] His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez.[53] Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works.[54]

In the mid-1920s Dalí grew a neatly trimmed mustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter Diego Velázquez, and this mustache became a well known Dalí icon.[55]

1929 to World War II

 
Soft Construction with Boiled Beans (Premonition of Civil War) 1936. oil on canvas, 100 x 99 cm., Philadelphia Museum of Art

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.[56] In August 1929, Dalí met his lifelong muse and future wife Gala,[57] born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet Paul Éluard.[58]

In works such as The First Days of Spring, The Great Masturbator and The Lugubrious Game Dalí continued his exploration of the themes of sexual anxiety and unconscious desires.[59] Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, André Breton described Dalí's new work as "the most hallucinatory that has been produced up to now".[60] The exhibition was a commercial success but the critical response was divided.[60] In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his paranoiac-critical method of accessing the subconscious for greater artistic creativity.[12][14]

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 final 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".[5][18] 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 28 December 1929. His father told him that he would be disinherited and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.[61]

In 1931, Dalí painted one of his most famous works, The Persistence of Memory,[62] which developed 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 other limp watches shown being devoured by ants.[63]

Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932. The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies.[64] Dalí's last, and largest, the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings, and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament".[65] Dalí's first New York exhibition was held at Julien Levy's gallery in November–December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The New Yorker critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares".[66]

Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.[67] They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell.[68] In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala, who herself engaged in extra-marital affairs,[69] seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of her. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.[70]

Dalí's first visit to the United States in November 1934 attracted widespread press coverage. His second New York exhibition was held at the Julien Levy Gallery in November–December 1934 and was again a commercial and critical success. Dalí delivered three lectures on Surrealism at the Museum of Modern Art (MoMA) and other venues during which he told his audience for the first time that "[t]he only difference between me and a madman is that I am not mad."[71] The heiress Caresse Crosby, the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head. A Paris newspaper later claimed that the Dalís had dressed as the Lindbergh baby and his kidnapper, a claim which Dalí denied.[72]

 
Portrait of Salvador Dalí, Paris, 16 June 1934

While the majority of the Surrealist group 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".[73] Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism.[74] Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group.[75] To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist."[76][77]

 
Dalí, photographed by Studio Harcourt in 1936

In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, titled Fantômes paranoiacs authentiques, was delivered while wearing a deep-sea diving suit and helmet.[78] 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."[79]

Dalí's first solo London exhibition was held at the Alex, Reid, and Lefevre Gallery the same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although the Daily Telegraph critic wrote: "These pictures from the subconscious reveal so skilled a craftsman that the artist's return to full consciousness may be awaited with interest."[80]

In December 1936 Dalí participated in the Fantastic Art, Dada, Surrealism exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The painting Soft Construction with Boiled Beans (Premonition of Civil War) (1936) attracted particular attention. Dalí later described it as, "a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of auto-strangulation".[81] On 14 December, Dalí, aged 32, was featured on the cover of Time magazine.[5]

From 1933 Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice.[82] From 1936 Dalí's main patron in London was the wealthy Edward James who would support him financially for two years. One of Dalí's most important paintings from the period of James' patronage was The Metamorphosis of Narcissus (1937). They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.[83]

Dalí was in London when the Spanish Civil War broke out in July 1936. When he later learned that his friend Lorca had been executed by Nationalist forces, Dalí's claimed response was to shout: "Olé!" Dalí was to include frequent references to the poet in his art and writings for the remainder of his life.[84] Nevertheless, Dalí avoided taking a public stand for or against the Republic for the duration of the conflict.[85]

In January 1938, Dalí unveiled Rainy Taxi, a three-dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within the taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organized by André Breton and Paul Éluard. The Exposition was designed by artist Marcel Duchamp, who also served as host.[86][87][88]

In March that year, Dalí met Sigmund Freud thanks to Stefan Zweig. As Dalí sketched Freud's portrait, Freud whispered, "That boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.[5] The following day Freud wrote to Zweig "...until now I have been inclined to regard the Surrealists, who have apparently adopted me as their patron saint, as complete fools.....That young Spaniard, with his candid fanatical eyes and his undeniable technical mastery, has changed my estimate. It would indeed be very interesting to investigate analytically how he came to create that picture [i.e. Metamorphosis of Narcissus]."[89]

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.[90][91] This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. Life reported that no exhibition in New York had been so popular since Whistler's Mother was shown in 1934.[92]

At the 1939 New York World's Fair, Dalí debuted his Dream of Venus Surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, mermaids, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman.[93] Dalí was angered by changes to his designs, railing against mediocrities who thought that "a woman with the tail of a fish is possible; a woman with the head of a fish impossible."[94]

Soon after Franco's victory in the Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism and praising Catholicism and the Falange. As a result, Buñuel broke off relations with Dalí.[95]

In the May issue of the Surrealist magazine Minotaure, André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and that the over-refinement of his paranoiac-critical method was a repudiation of Surrealist automatism. This led many Surrealists to break off relations with Dalí.[96] In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí".[97] 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.

World War II

The outbreak of World War II in September 1939 saw the Dalís in France. Following the German invasion, they were able to escape because on 20 June 1940 they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940.[98] Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the Monterey Peninsula, California.[99][100]

Dalí spent the winter of 1940–41 at Hampton Manor, the residence of Caresse Crosby, in Caroline County, Virginia, where he worked on various projects including his autobiography and paintings for his upcoming exhibition.[101][102]

Dalí announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April–May 1941. The exhibition included nineteen paintings (among them Slave Market with the Disappearing Bust of Voltaire and The Face of War) and other works. In his catalog essay and media comments, Dalí proclaimed a return to form, control, structure and the Golden Section. Sales however were disappointing and the majority of critics did not believe there had been a major change in Dalí's work.[103]

On September 2, 1941, he hosted A Surrealistic Night in an Enchanted Forest in Monterey, a charity event which attracted national attention but raised little money for charity.[104][100]

The Museum of Modern Art held two major, simultaneous retrospectives of Dalí[105] and Joan Miró[106] from November 1941 to February 1942, Dalí being represented by forty-two paintings and sixteen drawings. Dalí's work attracted significant attention of critics and the exhibition later toured eight American cities, enhancing his reputation in America.[107]

In October 1942, Dalí's autobiography, The Secret Life of Salvador Dalí was published simultaneously in New York and London and was reviewed widely by the press. Time magazine's reviewer called it "one of the most irresistible books of the year". George Orwell later wrote a scathing review in the Saturday Book.[108][109] A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible for the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel resigning his position at MoMA in 1943 under pressure from the State Department.[110][111] Dalí also published a novel Hidden Faces in 1944 with less critical and commercial success.[112]

In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943 Dalí continued his attack on the Surrealist movement, writing: "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 [collage]".[113] The critical response to the society portraits in the exhibition, however, was generally negative.[114]

In November–December 1945 Dalí exhibited new work at the Bignou Gallery in New York. The exhibition included eleven oil paintings, watercolors, drawings, and illustrations. Works included Basket of Bread, Atomic and Uranian Melancholic Ideal, and My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae of a Column, Sky and Architecture. The exhibition was notable for works in Dalí's new classicism style and those heralding his "atomic period".[115]

During the war years, Dalí was also engaged in projects in various other fields. He executed designs for a number of ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, and The Cafe of Chinitas (all 1944).[116] In 1945 he created the dream sequence for Alfred Hitchcock's film Spellbound.[117] He also produced artwork and designs for products such as perfumes, cosmetics, hosiery and ties.[118]

Postwar in United States (1946–48)

In 1946, Dalí worked with Walt Disney and animator John Hench on an unfinished animated film Destino.[119]

Dalí exhibited new work at the Bignou Gallery from November 1947 to January 1948. The 14 oil paintings and other works in the exhibition reflected Dalí's increasing interest in atomic physics. Notable works included Dematerialization Near the Nose of Nero (The Separation of the Atom), Intra-Atomic Equilibrium of a Swan's Feather, and a study for Leda Atomica. The proportions of the latter work were worked out in collaboration with a mathematician.[120]

In early 1948, Dalí's 50 Secrets of Magic Craftsmanship was published. The book was a mixture of anecdotes, practical advice on painting, and Dalínian polemics.[121]

Later years in Spain

 
Portrait of Dalí by Allan Warren, 1972

In 1948, Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades, they would spend most of their time there, spending winters in Paris and New York.[5][61] Dalí's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life.[122] In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain exhibition organized by Marcel Duchamp in New York.[123] Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".[124]

In December 1949 Dalí's sister Anna Maria published her book Salvador Dalí Seen by his Sister. Dalí was angered by passages that he considered derogatory towards his wife Gala and broke off relations with his family. When Dalí's father died in September 1950 Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.[125]

 
The Hallucinogenic Toreador (1968–1970), oil on canvas, 398.8 cm × 299.7 cm., Salvador Dalí Museum

As Dalí moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting. In 1949 he painted a study for The Madonna of Port Lligat (first version, 1949) and showed it to Pope Pius XII during an audience arranged to discuss Dalí 's marriage to Gala.[126] This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism," a fusion of Einsteinian physics, classicism, and Catholic mysticism. In paintings such as The Madonna of Port Lligat, The Christ of Saint John on the Cross and The Disintegration of the Persistence of Memory, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.[127][128] His later Nuclear Mysticism works included La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).

Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and rhinoceros horn shapes in works from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral.[129] Dalí was also fascinated by the Tesseract (a four-dimensional cube), using it, for example, in Crucifixion (Corpus Hypercubus).

Dalí had been extensively using optical illusions such as double images, anamorphosis, negative space, visual puns and trompe-l'œil since his Surrealist period and this continued in his later work. At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.[130]: 17–18, 172  He also experimented with the bulletist technique[131] pointillism, enlarged half-tone dot grids and stereoscopic images.[130] He was among the first artists to employ holography in an artistic manner.[132] In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.[133]

In 1960, Dalí began work on his Theatre-Museum in his home town of Figueres. It was his largest single project and a main focus of his energy through to 1974, when it opened. He continued to make additions through the mid-1980s.[134][135]

In 1955, Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse, and model.[136] At a French nightclub in 1965 Dalí met Amanda Lear, a fashion model then known as Peki Oslo. Lear became his protégée and one of his muses. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.[137][138]

Final years and death

 
Church of Sant Pere in Figueres, site of Dalí's baptism, first communion, and funeral
 
Dalí's crypt at the Dalí Theatre-Museum in Figueres displays his name and title

In 1968, Dalí bought a castle in Púbol for Gala, and from 1971 she would retreat there for weeks at a time, Dalí having agreed not to visit without her written permission.[61] His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.[5]

In 1980, at age 76, Dalí's health deteriorated sharply and he was treated for depression, drug addiction, and Parkinson-like symptoms, including a severe tremor in his right arm. There were also allegations that Gala had been supplying Dalí with pharmaceuticals from her own prescriptions.[139]

Gala died on 10 June 1982, at the age of 87. After her death, Dalí moved from Figueres to the castle in Púbol, where she was entombed.[5][61][140]

In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbol[141][142] (Marquess of Dalí of Púbol) in the nobility of Spain, Púbol being where Dalí then lived. The title was initially hereditary, but at Dalí's request was changed to life-only in 1983.[141]

In May 1983, what was said to be Dalí's last painting, The Swallow's Tail, was revealed. The work was heavily influenced by the mathematical catastrophe theory of René Thom. However, some critics have questioned how Dalí could have executed a painting with such precision given the severe tremor in his painting arm.[143]

From early 1984 Dalí's depression worsened and he refused food, leading to severe undernourishment.[144] Dalí had previously stated his intention to put himself into a state of suspended animation as he had read that some microorganisms could do.[145] In August 1984 a fire broke out in Dalí's bedroom and he was hospitalized with severe burns. Two judicial inquiries found that the fire was caused by an electrical fault and no findings of negligence were made.[146] After his release from hospital Dalí moved to the Torre Galatea, an annex to the Dalí Theatre-Museum.[147]

There have been allegations that Dalí was forced by his guardians to sign blank canvases that could later be used in forgeries.[148] It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death.[5] As a result, art dealers tend to be wary of late graphic works attributed to Dalí.[149]

In July 1986, Dalí had a pacemaker implanted. On his return to his Theatre-Museum he made a brief public appearance, saying:

When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.[150][151]

In November 1988, Dalí entered hospital with heart failure. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.[152] Dalí gave the king a drawing, Head of Europa, which would turn out to be Dalí's final drawing.

On the morning of 23 January 1989, Dalí died of cardiac arrest at the age of 84.[153] He is buried in the crypt below the stage of his Theatre-Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only 450 metres (1,480 ft) from the house where he was born.[154]

The Gala-Salvador Dalí Foundation currently serves as his official estate.[155] The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.[156]

Exhumation

On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dalí's body in order to obtain samples for a paternity suit.[157] Joan Manuel Sevillano, manager of the Fundación Gala Salvador Dalí (The Gala-Salvador Dalí Foundation), denounced the exhumation as inappropriate.[158] The exhumation took place on the evening of 20 July, and his DNA was extracted.[159] On 6 September 2017 the Foundation stated that the tests carried out proved conclusively that Dalí and the claimant were not related.[160][161] On 18 May 2020 a Spanish court dismissed an appeal from the claimant and ordered her to pay the costs of the exhumation.[162]

Symbolism

From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or Freudian interpretation (Dalí read Freud in the 1920s) others (such as locusts, rotting donkeys, and sea urchins) are idiosyncratic and have been variously interpreted.[163] Some commentators have cautioned that Dalí's own comments on these images are not always reliable.[164]

Food

Food and eating have a central place in Dalí's thoughts and work. He associated food with beauty and sex and was obsessed with the image of the female praying mantis eating her mate after copulation.[165] Bread was a recurring image in Dalí's art, from his early work The Basket of Bread to later public performances such as in 1958 when he gave a lecture in Paris using a 12-meter-long baguette an illustrative prop.[166] He saw bread as "the elementary basis of continuity" and "sacred subsistence".[167]

The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love.[168] It appears in The Great Masturbator, The Metamorphosis of Narcissus and many other works. There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat[169] as well as at the Dalí Theatre-Museum in Figueres.

Both Dalí and his father enjoyed eating sea urchins, freshly caught in the sea near Cadaqués. The radial symmetry of the sea urchin fascinated Dalí, and he adapted its form to many artworks. Other foods also appear throughout his work.[170]

The famous "melting watches" that appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed.[63] Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating Camembert cheese.[171]

Animals

The rhinoceros and rhinoceros horn shapes began to proliferate in Dalí's work from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary.[129] However, he also used it as an obvious phallic symbol as in Young Virgin Auto-Sodomized by the Horns of Her Own Chastity.[172]

Various other animals appear throughout Dalí's work: rotting donkeys and ants have been interpreted as pointing to death, decay, and sexual desire; the snail as connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts as a symbol of waste and fear.[168] The elephant is also a recurring image in his work; for example, Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening. The elephants are inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk.[173]

Science

Dalí's life-long interest in science and mathematics was often reflected in his work. His soft watches have been interpreted as references to Einstein's theory of the relativity of time and space.[63] Images of atomic particles appeared in his work soon after the atomic bombing of Hiroshima and Nagasaki[174] and strands of D.N.A. appeared from the mid-1950s.[172] 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 have transcended the one of psychology. My father today is Dr. Heisenberg."[175][176]

The Disintegration of the Persistence of Memory (1954) harks back to The Persistence of Memory (1931) and in portraying that painting in fragmentation and disintegration has been interpreted as a reference to Heisenberg's quantum mechanics.[175]

Endeavors outside painting

Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theater, fashion, and photography, among other areas.

Sculptures and other objects

 
The Bust of a Retrospective Woman (1933). Museo Botero, Bogotá. One of the earliest and most important surrealist sculptures by Dalí from this period.[177][178]

From the early 1930s, Dalí was an enthusiastic proponent of the proliferation of three-dimensional Surrealist Objects to subvert perceptions of conventional reality, writing: "museums will fast fill with objects whose uselessness, size and crowding will necessitate the construction, in deserts, of special towers to contain them."[179] His more notable early objects include Board of Demented Associations (1930–31), Retrospective Bust of a Woman (1933), Venus de Milo with Chest of Drawers (1936) and Aphrodisiac Dinner Jacket (1936). Two of the most popular objects of the Surrealist movement were Lobster Telephone (1936) and Mae West Lips Sofa (1937) which were commissioned by art patron Edward James.[180] Lobsters and telephones had strong sexual connotations for Dalí who drew a close analogy between food and sex.[181] The telephone was functional, and James purchased four of them from Dalí to replace the phones in his home. The Mae West Lips Sofa was shaped after the lips of actress Mae West, who was previously the subject of Dalí's watercolor, The Face of Mae West which may be used as a Surrealist Apartment (1934–35).[180] In December 1936 Dalí sent Harpo Marx a Christmas present of a harp with barbed-wire strings.[182]

After World War II Dalí authorized many sculptures derived from his most famous works and images. In his later years other sculptures also appeared, often in large editions, whose authenticity has sometimes been questioned.[183]

Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry, many of which are intricate, some containing moving parts. The most famous assemblage, The Royal Heart, is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, created in such a way that the center "beats" like a heart.[184]

Dalí ventured into industrial design in the 1970s with a 500-piece run of Suomi tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's "Studio Linie".[185] In 1969 he designed the Chupa Chups logo.[186] He facilitated the design of the advertising campaign for the 1969 Eurovision Song Contest and created a large on-stage metal sculpture that stood at the Teatro Real in Madrid.[187][188]

 
A sundial painted by Dalí, 27 Rue Saint-Jacques, Paris

Theater and film

In theater, Dalí designed the scenery for Federico García Lorca's 1927 romantic play Mariana Pineda.[189] For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto.[190] He executed designs for a number of other ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, The Cafe of Chinitas (all 1944) and The Three-Cornered Hat (1949).[191][116]

Dalí became interested in film when he was young, going to the theater most Sundays.[192] By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"[193] and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short Un Chien Andalou (1929) and the feature film L'Age d'Or (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of Un Chien Andalou, but there is controversy over the extent of Dalí's contribution to L'Age d'Or.[194] Un Chien Andalou features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality.[195] L'Age d'Or is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown.[196] Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "If Un Chien Andalou stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then L'Âge d'Or is perhaps the most trenchant and implacable expression of its revolutionary intent."[197]

After he collaborated with Buñuel, Dalí worked on several unrealized film projects including a published script for a film, Babaouo (1932); a scenario for Harpo Marx called Giraffes on Horseback Salad (1937); and an abandoned dream sequence for the film Moontide (1942).[198] In 1945 Dalí created the dream sequence in Hitchcock's Spellbound, but neither Dalí nor the director was satisfied with the result.[199] Dalí also worked with Walt Disney and animator John Hench on the short film Destino in 1946.[119] After initially being abandoned, the animated film was completed in 2003 by Baker Bloodworth and Walt Disney's nephew Roy E. Disney. Between 1954 and 1961 Dalí worked with photographer Robert Descharnes on The Prodigious History of the Lacemaker and the Rhinoceros, but the film was never completed.[200]

In the 1960s Dalí worked with some directors on documentary and performance films including with Philippe Halsman on Chaos and Creation (1960), Jack Bond on Dalí in New York (1966) and Jean-Christophe Averty on Soft Self-Portrait of Salvador Dalí (1966).[201]

Dalí collaborated with director José-Montes Baquer on the pseudo-documentary film Impressions of Upper Mongolia (1975), in which Dalí narrates a story about an expedition in search of giant hallucinogenic mushrooms.[202] In the mid-1970s film director Alejandro Jodorowsky initially cast Dalí in the role of the Padishah Emperor in a production of Dune, based on the novel by Frank Herbert. However, Jodorowsky changed his mind after Dalí publicly supported the execution of alleged ETA terrorists in December 1975. The film was ultimately never made.[203][204]

In 1972 Dalí began to write the scenario for an opera-poem called Être Dieu (). The Spanish writer Manuel Vázquez Montalbán wrote the libretto and Igor Wakhévitch the music. The opera poem was recorded in Paris in 1974 with Dalí in the role of the protagonist.[205]

Fashion and photography

 
Dalí Atomicus, photo by Philippe Halsman (1948), shown before support wires were removed from the image

Fashion designer Elsa Schiaparelli worked with Dalí from the 1930s and commissioned him 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. In 1950, Dalí created a special "costume for the year 2045" with Christian Dior.[206]

Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman. Halsman produced the Dalí Atomica series (1948) – inspired by Dalí's 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".[206]

Architecture

 
Dalí Theatre-Museum in Figueres also holds the crypt where Dalí is buried

Dalí's architectural achievements include his Port Lligat house near Cadaqués, as well as his Theatre Museum in Figueres. A major work outside of Spain was the temporary Dream of Venus Surrealist pavilion at the 1939 New York World's Fair, which contained several unusual sculptures and statues, including live performers posing as statues.[93] In 1958, Dalí completed Crisalida, a temporary installation promoting a drug, which was exhibited at the 1958 Convention of the American Medical Association in San Francisco.[207]

Literary works

In his only novel, Hidden Faces (1944), Dalí describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolizes the decadence of the 1930s. The Comte de Grandsailles and Solange de Cléda pursue a love affair, but interwar political turmoil and other vicissitudes drive them apart. It is variously set in Paris, rural France, Casablanca in North Africa, and Palm Springs in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured U.S. fighter pilot.[208] The novel was written in New York, and translated by Haakon Chevalier.[112]

His other literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1966), and Oui: The Paranoid-Critical Revolution (1971). Dalí also published poetry, essays, art criticism, and a technical manual on art.[209]

Graphic arts

Dalí worked extensively in the graphic arts, producing many drawings, etchings, and lithographs. Among the most notable of these works are forty etchings for an edition of Lautréamont's The Songs of Maldoror (1933) and eighty drypoint reworkings of Goya's Caprichos (1973–77).[210] From the 1960s, however, Dalí would often sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.[149]

Book illustrations were an important part of Dalí's work throughout his career. His first book illustration was for the 1924 publication of the Catalan poem Les bruixes de Llers [ca] ("The Witches of Liers") by his friend and schoolmate, poet Carles Fages de Climent.[211][212][213] His other notable book illustrations, apart from The Songs of Maldoror, include 101 watercolors and engravings for The Divine Comedy (1960) and 100 drawings and watercolors for The Arabian Nights (1964).[214]

Politics and personality

Politics and religion

 
Dalí in the 1960s, sporting his characteristic flamboyant moustache, holding his pet ocelot, Babou

As a youth, Dalí identified as communist, anti-monarchist and anti-clerical[215] and in 1924 he was briefly imprisoned by the Primo de Rivera dictatorship as a person "intensely liable to cause public disorder".[216] When Dalí officially joined the Surrealist group in 1929 his political activism initially intensified. In 1931, he became involved in the Workers' and Peasants' Front, delivering lectures at meetings and contributing to their party journal.[217] However, as political divisions within the Surrealist group grew, Dalí soon developed a more apolitical stance, refusing to publicly denounce fascism. In 1934, André Breton accused him of being sympathetic to Hitler and Dalí narrowly avoided being expelled from the group.[218] In 1935 Dalí wrote a letter to Breton suggesting that non-white races should be enslaved.[219] After the outbreak of the Spanish Civil War in 1936, Dalí avoided taking a public stand for or against the Republic.[85] However, immediately after Franco's victory in 1939, Dalí praised Catholicism and the Falange and was expelled from the Surrealist group.[95]

After Dalí's return to his native Catalonia in 1948, he publicly supported Franco's regime and announced his return to the Catholic faith.[220] Dalí was granted an audience with Pope Pius XII in 1949 and with Pope John XXIII in 1959. He had official meetings with General Franco in June 1956, October 1968, and May 1974.[221] In 1968, Dalí stated that on Franco's death there should be no return to democracy and Spain should become an absolute monarchy.[222] In September 1975, Dalí publicly supported Franco's decision to execute three alleged Basque terrorists and repeated his support for an absolute monarchy, adding: "Personally, I'm against freedom; I'm for the Holy Inquisition." In the following days, he fled to New York after his home in Port Lligat was stoned and he had received numerous death threats.[223] When King Juan Carlos visited the ailing Dalí in August 1981, Dalí told him: "I have always been an anarchist and a monarchist."[224]

Dalí espoused a mystical view of Catholicism and in his later years he claimed to be a Catholic and an agnostic.[225] He was interested in the writings of the Jesuit priest and philosopher Teilhard de Chardin[226] and his Omega Point theory. Dalí's painting Tuna Fishing (Homage to Meissonier) (1967) was inspired by his reading of Chardin.[227]

Sexuality

Dalí's sexuality had a profound influence on his work. He stated that as a child he saw a book with graphic illustrations of venereal diseases and this provoked a life-long disgust of female genitalia and a fear of impotence and sexual intimacy. Dalí frequently stated that his main sexual activity involved voyeurism and masturbation and his preferred sexual orifice was the anus.[228] Dalí said that his wife Gala was the only person with whom he had achieved complete coitus.[229] From 1927 Dalí's work featured graphic and symbolic sexual images usually associated with other images evoking shame and disgust. Images of anality and excrement also abound in his work from this time. Some of the most notable works reflecting these themes include The First Days of Spring (1929), The Great Masturbator (1929), and The Lugubrious Game (1929). Several of Dalí's intimates in the 1960s and 1970s have stated that he would arrange for selected guests to perform choreographed sexual activities to aid his voyeurism and masturbation.[230][231][232]

Personality

Dalí was renowned for his eccentric and ostentatious behavior throughout his career. In 1941, the Director of Exhibitions and Publications at MoMA wrote: "The fame of Salvador Dalí has been an issue of particular controversy for more than a decade...Dalí's conduct may have been undignified, but the greater part of his art is a matter of dead earnest."[233] When Dalí was elected to the French Academy of Fine Arts in 1979, one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries".[234]

In 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí knocked over the projector in a rage. "My idea for a film is exactly that," he said shortly afterward, "I never wrote it down or told anyone, but it is as if he had stolen it!"[235] In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window.[5] In 1955, he delivered a lecture at the Sorbonne, arriving in a Rolls-Royce full of cauliflowers.[236] To promote Robert Descharnes' 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.[5]

After World War II, Dalí became one of the most recognized artists in the world, and his long cape, walking stick, haughty expression, and upturned waxed mustache became icons of his brand. His boastfulness and public declarations of his genius became essential elements of the public Dalí persona: "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".[237]

Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France.[238] He was also known to avoid paying at restaurants by executing drawings on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.[239]

Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on the Tonight Show with Johnny Carson on 7 January 1963[240] The Mike Wallace Interview[241] and the panel show What's My Line?.[242][243] Dalí appeared on The Dick Cavett Show on 6 March 1970 carrying an anteater.[244] He also appeared in numerous advertising campaigns such for Lanvin [fr] chocolates[245][246] and Braniff International Airlines in 1968.[247]

Legacy

Two major museums are devoted to Dalí's work: the Dalí Theatre-Museum in Figueres, Catalonia, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida, U.S.

Dalí's life and work have been an important influence on pop art, other Surrealists, and contemporary artists such as Jeff Koons and Damien Hirst.[7][8] He has been portrayed on film by Robert Pattinson in Little Ashes (2008), and by Adrien Brody in Midnight in Paris (2011). The Salvador Dalí Desert in Bolivia and the Dalí crater on the planet Mercury are named for him.[248][249]

The Spanish television series Money Heist (2017–2021) includes characters wearing a costume of red jumpsuits and Dalí masks.[250] The creator of the series stated that the Dalí mask was chosen because it was an iconic Spanish image.[251] The Gala-Salvador Dalí Foundation protested against the use of Dalí's image without the authorisation of the Dalí estate.[252] Following the popular success of the series, there were reports of people in various countries wearing the costume while participating in political protests, committing crimes or as fancy dress.[250][253]

Honors

List of selected works

Main article: List of works by Salvador Dalí

Dalí produced over 1,600 paintings and numerous graphic works, sculptures, three-dimensional objects, and designs.[258] Below is a sample of important and representative works.

Dalí museums and permanent exhibitions

Gallery

See also

Notes

  1. ^ Dalí's name varied over his life. His birth name was officially registered as Salvador Domingo Felipe Jacinto Dalí Doménech. His first names were in Spanish and his surnames castilianized despite being born in Catalonia, as at the time the Catalan language was banned from official acts. His complete name in Catalan is Salvador Domènec Felip Jacint Dalí i Domènech. In 1977 Catalan names were legalized, and he adopted the hybrid form (first names in Spanish, surnames in Catalan). This form and the purely Spanish and Catalan forms can all be seen in print today.
  2. ^ In isolation, Dalí is pronounced [dəˈli] in Catalan and [daˈli] in Spanish.

References

  1. ^ "Dalí" 8 March 2016 at the Wayback Machine. Random House Webster's Unabridged Dictionary.; "Dalí" 29 August 2017 at the Wayback Machine. Merriam-Webster Dictionary.
  2. ^ Gibson, Ian, The Shameful Life of Salvador Dalí, London, Faber and Faber, 1997, Chs 2, 3
  3. ^ Gibson, Ian, The Shameful Life of Salvador Dali (1997)
  4. ^ Saladyga, Stephen Francis (2006). . Lamplighter. Niagara University. Archived from the original on 6 September 2006. Retrieved 22 July 2006.
  5. ^ a b c d e f g h i j k l m n o Meisler, Stanley (April 2005). "The Surreal World of Salvador Dalí". Smithsonian.com. Smithsonian Magazine. from the original on 18 May 2014. Retrieved 12 July 2014.
  6. ^ a b Gibson, Ian (1997), passim
  7. ^ a b Koons, Jeff (March 2005). "Who Paints Bread Better than Dali". from the original on 9 June 2020. Retrieved 1 April 2020.
  8. ^ a b "Salvador Dalí's iconic Lobster Telephone acquired by National Galleries of Scotland". National Galleries Scotland. 17 December 2018. from the original on 6 August 2020. Retrieved 20 May 2020.
  9. ^ Gibson, Ian (1997) p. 22
  10. ^ "Dalí recupera su casa natal, que será un museo en 2010". El País. 14 February 2008. from the original on 2 July 2017. Retrieved 26 June 2017.
  11. ^ Gibson, Ian (1997) pp. 6, 459, 633, 689
  12. ^ a b c d e f Llongueras, Lluís. (2004) Dalí, Ediciones B – Mexico. ISBN 84-666-1343-9.
  13. ^ Gibson, Ian (1997) pp. 16, 82, 634, 644
  14. ^ a b Rojas, Carlos. Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait 19 April 2016 at the Wayback Machine, Penn State Press (1993). ISBN 0-271-00842-3.
  15. ^ Gibson, Ian (1997)
  16. ^ Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p. 33
  17. ^ Ian Gibson (1997). The Shameful Life of Salvador Dalí. W. W. Norton & Company. from the original on 19 February 2017. Retrieved 12 February 2017. 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's family, the Domènech of Barcelona, had Jewish roots.
  18. ^ a b Gibson, Ian (1997) pp. 238–39
  19. ^ a b Dalí, Secret Life, p. 2
  20. ^ Gibson, Ian (1997). p. 23
  21. ^ . artelino.com. Archived from the original on 25 October 2006. Retrieved 30 September 2006.
  22. ^ Gibson, Ian (1997) p. 454
  23. ^ Martín Otín, José Antonio (2011). "Un tanguito de arrabal". El fútbol tiene música. Córner. ISBN 978-84-15242-00-0. from the original on 8 October 2021. Retrieved 13 September 2020.
  24. ^ "Who was Salvador Dalí?｜Collection｜Morohashi Museum of Modern Art". dali.jp. from the original on 15 December 2018. Retrieved 15 December 2018.
  25. ^ Gibson, Ian (1997), pp. 78–81
  26. ^ Gibson, Ian (1997) p. 82
  27. ^ Dalí, Secret Life, pp. 152–53
  28. ^ As listed in his prison record of 1924 25 February 2021 at the Wayback Machine, aged 20. However, his hairdresser and biographer, Luis Llongueras, stated Dalí was 1.74 metres (5 ft 8+1⁄2 in) tall.
  29. ^ Gibson, Ian (1997), p. 90
  30. ^ Gibson, Ian (1997), pp. 92–98
  31. ^ 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.
  32. ^ Bosquet, Alain, Conversations with Dalí 28 July 2011 at the Wayback Machine, 1969. pp. 19–20. (PDF)
  33. ^ "Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala - Salvador Dalí". from the original on 15 July 2020. Retrieved 15 July 2020.
  34. ^ "Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala - Salvador Dalí". from the original on 15 July 2020. Retrieved 15 July 2020.
  35. ^ Michael Elsohn Ross, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities 6 August 2020 at the Wayback Machine, Chicago Review Press, 2003, p. 24. ISBN 1-61374-275-4
  36. ^ Gibson, Ian (1997), pp. 97–98
  37. ^ Gibson, Ian (1997), pp. 116–119
  38. ^ Gibson, Ian (1997), pp. 123–25
  39. ^ Fèlix Fanés, Salvador Dalí: The Construction of the Image, 1925–1930 22 April 2018 at the Wayback Machine, Yale University Press, 2007, ISBN 0-300-09179-6
  40. ^ "Exposició Salvador Dalí, Galeries Dalmau, 14–28 November 1925, exhibition catalog". from the original on 2 May 2018. Retrieved 24 May 2018.
  41. ^ Gibson, Ian (1997), pp. 126–27
  42. ^ Gibson, Ian (1997), pp. 130–31
  43. ^ Gibson, Ian (1997), p. 163
  44. ^ . Dali-gallery.com. Archived from the original on 27 August 2010. Retrieved 22 August 2010.
  45. ^ Elisenda Andrés Pàmies, Les Galeries Dalmau, un project de modernist a la Ciutat de Barcelona 9 August 2017 at the Wayback Machine, 2012–13, Facultat d’Humanitats, Universitat Pompeu Fabra
  46. ^ "Exposició de Salvador Dalí, Galeries Dalmau, Passeig de Gràcia, 31 December 1926 – 14 January 1927, exhibition catalog (other versions)". from the original on 2 May 2018. Retrieved 24 May 2018.
  47. ^ Gibson, Ian (1997), pp. 147–49
  48. ^ Gibson, Ian (1997) p. 162
  49. ^ Gibson, Ian (1997), p. 171
  50. ^ Gibson, Ian (1997), p. 287
  51. ^ Gibson, Ian (1997) pp. 186–190
  52. ^ 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. .
  53. ^ "Phelan, Joseph". Artcyclopedia.com. from the original on 13 March 2014. Retrieved 22 August 2010.
  54. ^ Roger Rothman, Tiny Surrealism: Salvador Dal and the Aesthetics of the Small 6 August 2020 at the Wayback Machine, U of Nebraska Press, 2012. p. 202. ISBN 0-300-12106-7
  55. ^ Salvador Dali and the Spanish Baroque: From Still Life to Velazquez 6 August 2020 at the Wayback Machine, Salvado Dalí Museum, St. Petersburg, Fl. 2007
  56. ^ Koller, Michael (January 2001). . Senses of Cinema (in French). Archived from the original on 25 December 2010. Retrieved 26 July 2006.
  57. ^ Shelley, Landry. "Dalí Wows Crowd in Philadelphia" 8 November 2017 at the Wayback Machine. Unbound (The College of New Jersey) Spring 2005. Retrieved on 22 July 2006.
  58. ^ Gibson, Ian (1997) pp. 218–20
  59. ^ Gibson, Ian (1997) pp. 206–08, 231–32
  60. ^ a b Gibson, Ian (1997) p. 237
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Further reading

Important books by or about Salvador Dalí readily available in English include:

  • Ades, Dawn, Salvador Dalí, Thames and Hudson, 1995 (2nd ed.)
  • Dalí, Salvador, Oui: the paranoid-critical revolution: writings 1927–1933, (edited by Robert Descharnes, translated by Yvonne Shafir), Boston: Exact Change, 1998
  • Dalí, Salvador, The Secret Life of Salvador Dalí, New York, Dover, 1993 (translated by Haakon M. Chevalier, first published 1942)
  • Dalí, Salvador, The Diary of a Genius, London, Hutchinson, 1990 (translated by Richard Howard, first published 1964)
  • Dalí, Salvador, The Unspeakable Confessions of Salvador Dalí, London, Quartet Books, 1977 (first published 1973)
  • Descharnes, Robert, Salvador Dalí (translated by Eleanor R. Morse), New York, Abradale Press, 1993
  • Gibson, Ian, The Shameful Life of Salvador Dalí, London, Faber and Faber, 1997
  • Shanes, Eric, Salvador Dalí, Parkstone International, 2014

External links

  • Morley, Sarah (23 February 2022). "Big Bold Botanicals". State Library of NSW.
  • Salvador Dalí on What's My Line?
  • "Sound: Salvador Dalí". UbuWeb. Interview and bank advertisement.
  • "Video: Salvador Dalí". INA Archives. A collection of interviews and footage of Dalí in the French television
  • Mike Wallace interviews Salvador Dalí Archived 15 December 2015. Harry Ransom Center, the University of Texas at Austin
  • Panorama: Salvador Dali - Malcolm Muggeridge BBC interview, first transmitted 4 May 1955

January 12, 2023
salvador, dalí, other, uses, disambiguation, this, catalan, name, first, paternal, surname, dalí, second, maternal, family, name, domènech, both, generally, joined, conjunction, salvador, domingo, felipe, jacinto, dalí, domènech, marquess, dalí, púbol, gcyc, 1. For other uses see Salvador Dali disambiguation In this Catalan name the first or paternal surname is Dali and the second or maternal family name is Domenech both are generally joined by the conjunction i Salvador Domingo Felipe Jacinto Dali i Domenech Marquess of Dali of Pubol a gcYC 11 May 1904 23 January 1989 known as Salvador Dali ˈ d ɑː l i d ɑː ˈ l iː DAH lee dah LEE 1 Catalan selbeˈdo deˈli Spanish salbaˈdoɾ daˈli b was a Spanish surrealist artist renowned for his technical skill precise draftsmanship and the striking and bizarre images in his work The Most IllustriousSalvador Dali Marquess of Dali of PubolgcYCDali in 1939BornSalvador Domingo Felipe Jacinto Dali i Domenech 1904 05 11 11 May 1904Figueres Catalonia SpainDied23 January 1989 1989 01 23 aged 84 Figueres Catalonia SpainResting placeCrypt at Dali Theatre and Museum FigueresEducationSan Fernando School of Fine Arts Madrid SpainKnown forPainting drawing photography sculpture writing film and jewelryNotable workThe Persistence of Memory 1931 Soft Construction with Boiled Beans Premonition of Civil War 1936 Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening 1944 Christ of Saint John of the Cross 1951 Galatea of the Spheres 1952 Crucifixion Corpus Hypercubus 1954 The Ecumenical Council 1960 The Hallucinogenic Toreador 1970 MovementCubism Dada SurrealismSpouseGala Dali m 1934 d 1982 wbr Born in Figueres Catalonia Spain Dali received his formal education in fine arts in Madrid Influenced by Impressionism and the Renaissance masters from a young age he became increasingly attracted to Cubism and avant garde movements 2 He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929 soon becoming one of its leading exponents His best known work The Persistence of Memory was completed in August 1931 and is one of the most famous Surrealist paintings Dali lived in France throughout the Spanish Civil War 1936 to 1939 before leaving for the United States in 1940 where he achieved commercial success He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his nuclear mysticism style based on his interest in classicism mysticism and recent scientific developments 3 Dali s artistic repertoire included painting graphic arts film sculpture design and photography at times in collaboration with other artists He also wrote fiction poetry autobiography essays and criticism Major themes in his work include dreams the subconscious sexuality religion science and his closest personal relationships To the dismay of those who held his work in high regard and to the irritation of his critics his eccentric and ostentatious public behavior often drew more attention than his artwork 4 5 His public support for the Francoist regime his commercial activities and the quality and authenticity of some of his late works have also been controversial 6 His life and work were an important influence on other Surrealists pop art and contemporary artists such as Jeff Koons and Damien Hirst 7 8 There are two major museums devoted to Salvador Dali s work the Dali Theatre Museum in Figueres Spain and the Salvador Dali Museum in St Petersburg Florida Contents 1 Biography 1 1 Early life 1 2 Madrid Barcelona and Paris 1 3 1929 to World War II 1 4 World War II 1 5 Postwar in United States 1946 48 1 6 Later years in Spain 1 7 Final years and death 1 7 1 Exhumation 2 Symbolism 2 1 Food 2 2 Animals 2 3 Science 3 Endeavors outside painting 3 1 Sculptures and other objects 3 2 Theater and film 3 3 Fashion and photography 3 4 Architecture 3 5 Literary works 3 6 Graphic arts 4 Politics and personality 4 1 Politics and religion 4 2 Sexuality 4 3 Personality 5 Legacy 6 Honors 7 List of selected works 8 Dali museums and permanent exhibitions 9 Gallery 10 See also 11 Notes 12 References 13 Further reading 14 External linksBiographyEarly life The Dali family in 1910 from the upper left aunt Maria Teresa mother father Salvador Dali aunt Caterina later became the second wife of father sister Anna Maria and grandmother Anna Salvador Dali was born on 11 May 1904 at 8 45 am 9 on the first floor of Carrer Monturiol 20 in the town of Figueres in the Emporda region close to the French border in Catalonia Spain 10 Dali s older brother who had also been named Salvador born 12 October 1901 had died of gastroenteritis nine months earlier on 1 August 1903 His father Salvador Luca Rafael Aniceto Dali Cusi 1872 1950 11 was a middle class lawyer and notary 12 an anti clerical atheist and Catalan federalist whose strict disciplinary approach was tempered by his wife Felipa Domenech Ferres 1874 1921 13 who encouraged her son s artistic endeavors 14 In the summer of 1912 the family moved to the top floor of Carrer Monturiol 24 presently 10 15 16 Dali later attributed his love of everything that is gilded and excessive my passion for luxury and my love of oriental clothes 17 to an Arab lineage claiming that his ancestors were descendants of the Moors 5 18 Dali was haunted by the idea of his dead brother throughout his life mythologizing him in his writings and art Dali said of him we resembled each other like two drops of water but we had different reflections 19 He was probably the first version of myself but conceived too much in the absolute 19 Images of his brother would reappear in his later works including Portrait of My Dead Brother 1963 20 Dali also had a sister Anna Maria who was three years younger 12 In 1949 she published a book about her brother Dali as Seen by His Sister 21 22 His childhood friends included future FC Barcelona footballers Emili Sagi Barba and Josep Samitier During holidays at the Catalan resort town of Cadaques the trio played football together 23 Dali attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on a summer vacation trip to Cadaques with the family of Ramon Pichot a local artist who made regular trips to Paris 12 The next year Dali s father organized an exhibition of his charcoal drawings in their family home He had his first public exhibition at the Municipal Theatre in Figueres in 1918 24 a site he would return to decades later In early 1921 the Pichot family introduced Dali to Futurism That same year Dali s uncle Anselm Domenech who owned a bookshop in Barcelona supplied him with books and magazines on Cubism and contemporary art 25 On 6 February 1921 Dali s mother died of uterine cancer 26 Dali was 16 years old and 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 5 27 After the death of Dali s mother Dali s father married her sister Dali did not resent this marriage because he had great love and respect for his aunt 12 Madrid Barcelona and Paris Dali with Federico Garcia Lorca Turo Park de la Guineueta Barcelona 1925 In 1922 Dali moved into the Residencia de Estudiantes Students Residence in Madrid 12 and studied at the Real Academia de Bellas Artes de San Fernando San Fernando Royal Academy of Fine Arts A lean 1 72 metres 5 ft 7 3 4 in tall 28 Dali already drew attention as an eccentric and dandy He had long hair and sideburns coat stockings and knee breeches in the style of English aesthetes of the late 19th century 29 At the Residencia he became close friends with Pepin Bello Luis Bunuel Federico Garcia Lorca and others associated with the Madrid avant garde group Ultra 30 The friendship with Lorca had a strong element of mutual passion 31 but Dali said he rejected the poet s sexual advances 32 Dali s friendship with Lorca was to remain one of his most emotionally intense relationships until the poet s death at the hands of Nationalist forces in 1936 at the beginning of the Spanish Civil War 6 Also in 1922 he began what would become a lifelong relationship with the Prado Museum which he felt was incontestably the best museum of old paintings in the world 33 Each Sunday morning Dali went to the Prado to study the works of the great masters This was the start of a monk like period for me devoted entirely to solitary work visits to the Prado where pencil in hand I analyzed all of the great masterpieces studio work models research 34 Dali left and fellow surrealist artist Man Ray in Paris on 16 June 1934 Those paintings by Dali in which he experimented with Cubism earned him the most attention from his fellow students since there were no Cubist artists in Madrid at the time 35 Cabaret Scene 1922 is a typical example of such work Through his association with members of the Ultra group Dali became more acquainted with avant garde movements including Dada and Futurism One of his earliest works to show a strong Futurist and Cubist influence was the watercolor Night Walking Dreams 1922 36 At this time Dali also read Freud and Lautreamont who were to have a profound influence on his work 37 In May 1925 Dali exhibited eleven works in a group exhibition held by the newly formed Sociedad Iberica de Artistas in Madrid Seven of the works were in his Cubist mode and four in a more realist style Several leading critics praised his work 38 Dali held his first solo exhibition at Galeries Dalmau in Barcelona from 14 to 27 November 1925 39 40 This exhibition before his exposure to Surrealism included twenty two works and was a critical and commercial success 41 In April 1926 Dali made his first trip to Paris where he met Pablo Picasso whom he revered 5 Picasso had already heard favorable reports about Dali from Joan Miro a fellow Catalan who later introduced him to many Surrealist friends 5 As he developed his own style over the next few years Dali made some works strongly influenced by Picasso and Miro 42 Dali was also influenced by the work of Yves Tanguy and he later allegedly told Tanguy s niece I pinched everything from your uncle Yves 43 Dali left the Royal Academy in 1926 shortly before his final exams 5 His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread painted in 1926 44 Later that year he exhibited again at Galeries Dalmau from 31 December 1926 to 14 January 1927 with the support of the art critic Sebastia Gasch es 45 46 The show included twenty three paintings and seven drawings with the Cubist works displayed in a separate section from the objective works The critical response was generally positive with Composition with Three Figures Neo Cubist Academy singled out for particular attention 47 The Great Masturbator 1929 oil on canvas 110 cm 150 cm Museo Nacional Centro de Arte Reina Sofia From 1927 Dali s work became increasingly influenced by Surrealism Two of these works Honey is Sweeter than Blood 1927 and Gadget and Hand 1927 were shown at the annual Autumn Salon Salo de tardor in Barcelona in October 1927 Dali described the earlier of these works Honey is Sweeter than Blood as equidistant between Cubism and Surrealism 48 The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images precise draftsmanship idiosyncratic iconography such as rotting donkeys and dismembered bodies and lighting and landscapes strongly evocative of his native Catalonia The works provoked bemusement among the public and debate among critics about whether Dali had become a Surrealist 49 Influenced by his reading of Freud Dali increasingly introduced suggestive sexual imagery and symbolism into his work He submitted Dialogue on the Beach Unsatisfied Desires 1928 to the Barcelona Autumn Salon for 1928 but the work was rejected because it was not fit to be exhibited in any gallery habitually visited by the numerous public little prepared for certain surprises 50 The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dali 51 Some trends in Dali s work that would continue throughout his life were already evident in the 1920s Dali was influenced by many styles of art ranging from the most academically classic to the most cutting edge avant garde 52 His classical influences included Raphael Bronzino Francisco de Zurbaran Vermeer and Velazquez 53 Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works 54 In the mid 1920s Dali grew a neatly trimmed mustache In later decades he cultivated a more flamboyant one in the manner of 17th century Spanish master painter Diego Velazquez and this mustache became a well known Dali icon 55 1929 to World War II Soft Construction with Boiled Beans Premonition of Civil War 1936 oil on canvas 100 x 99 cm Philadelphia Museum of Art In 1929 Dali collaborated with Surrealist film director Luis Bunuel on the short film Un Chien Andalou An Andalusian Dog His main contribution was to help Bunuel write the script for the film Dali later claimed to have also played a significant role in the filming of the project but this is not substantiated by contemporary accounts 56 In August 1929 Dali met his lifelong muse and future wife Gala 57 born Elena Ivanovna Diakonova She was a Russian immigrant ten years his senior who at that time was married to Surrealist poet Paul Eluard 58 In works such as The First Days of Spring The Great Masturbator and The Lugubrious Game Dali continued his exploration of the themes of sexual anxiety and unconscious desires 59 Dali s first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works In his preface to the catalog Andre Breton described Dali s new work as the most hallucinatory that has been produced up to now 60 The exhibition was a commercial success but the critical response was divided 60 In the same year Dali officially joined the Surrealist group in the Montparnasse quarter of Paris The Surrealists hailed what Dali was later to call his paranoiac critical method of accessing the subconscious for greater artistic creativity 12 14 Meanwhile Dali s relationship with his father was close to rupture Don Salvador Dali 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 final 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 5 18 Outraged Don Salvador demanded that his son recant publicly Dali refused perhaps out of fear of expulsion from the Surrealist group and was violently thrown out of his paternal home on 28 December 1929 His father told him that he would be disinherited and that he should never set foot in Cadaques again The following summer Dali and Gala rented a small fisherman s cabin in a nearby bay at Port Lligat He soon bought the cabin and over the years enlarged it by buying neighboring ones gradually building his beloved villa by the sea Dali s father would eventually relent and come to accept his son s companion 61 In 1931 Dali painted one of his most famous works The Persistence of Memory 62 which developed 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 other limp watches shown being devoured by ants 63 Dali had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May June 1932 The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention Some of the notable features of the exhibitions were the proliferation of images and references to Dali s muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies 64 Dali s last and largest the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty two paintings ten drawings and two objects One critic noted Dali s precise draftsmanship and attention to detail describing him as a paranoiac of geometrical temperament 65 Dali s first New York exhibition was held at Julien Levy s gallery in November December 1933 The exhibition featured twenty six works and was a commercial and critical success The New Yorker critic praised the precision and lack of sentimentality in the works calling them frozen nightmares 66 Dali and Gala having lived together since 1929 were civilly married on 30 January 1934 in Paris 67 They later remarried in a Church ceremony on 8 August 1958 at Sant Marti Vell 68 In addition to inspiring many artworks throughout her life Gala would act as Dali s business manager supporting their extravagant lifestyle while adeptly steering clear of insolvency Gala who herself engaged in extra marital affairs 69 seemed to tolerate Dali s dalliances with younger muses secure in her own position as his primary relationship Dali continued to paint her as they both aged producing sympathetic and adoring images of her The tense complex and ambiguous relationship lasting over 50 years would later become the subject of an opera Jo Dali I Dali by Catalan composer Xavier Benguerel 70 Dali s first visit to the United States in November 1934 attracted widespread press coverage His second New York exhibition was held at the Julien Levy Gallery in November December 1934 and was again a commercial and critical success Dali delivered three lectures on Surrealism at the Museum of Modern Art MoMA and other venues during which he told his audience for the first time that t he only difference between me and a madman is that I am not mad 71 The heiress Caresse Crosby the inventor of the brassiere organized a farewell fancy dress ball for Dali on 18 January 1935 Dali wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head A Paris newspaper later claimed that the Dalis had dressed as the Lindbergh baby and his kidnapper a claim which Dali denied 72 Portrait of Salvador Dali Paris 16 June 1934 While the majority of the Surrealist group had become increasingly associated with leftist politics Dali maintained an ambiguous position on the subject of the proper relationship between politics and art Leading Surrealist Andre Breton accused Dali of defending the new and irrational in the Hitler phenomenon but Dali quickly rejected this claim saying I am Hitlerian neither in fact nor intention 73 Dali insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism 74 Later in 1934 Dali was subjected to a trial in which he narrowly avoided being expelled from the Surrealist group 75 To this Dali retorted The difference between the Surrealists and me is that I am a Surrealist 76 77 Dali photographed by Studio Harcourt in 1936 In 1936 Dali took part in the London International Surrealist Exhibition His lecture titled Fantomes paranoiacs authentiques was delivered while wearing a deep sea diving suit and helmet 78 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 79 Dali s first solo London exhibition was held at the Alex Reid and Lefevre Gallery the same year The show included twenty nine paintings and eighteen drawings The critical response was generally favorable although the Daily Telegraph critic wrote These pictures from the subconscious reveal so skilled a craftsman that the artist s return to full consciousness may be awaited with interest 80 In December 1936 Dali participated in the Fantastic Art Dada Surrealism exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York Both exhibitions attracted large attendances and widespread press coverage The painting Soft Construction with Boiled Beans Premonition of Civil War 1936 attracted particular attention Dali later described it as a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of auto strangulation 81 On 14 December Dali aged 32 was featured on the cover of Time magazine 5 From 1933 Dali was supported by Zodiac a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice 82 From 1936 Dali s main patron in London was the wealthy Edward James who would support him financially for two years One of Dali s most important paintings from the period of James patronage was The Metamorphosis of Narcissus 1937 They also collaborated on two of the most enduring icons of the Surrealist movement the Lobster Telephone and the Mae West Lips Sofa 83 Dali was in London when the Spanish Civil War broke out in July 1936 When he later learned that his friend Lorca had been executed by Nationalist forces Dali s claimed response was to shout Ole Dali was to include frequent references to the poet in his art and writings for the remainder of his life 84 Nevertheless Dali avoided taking a public stand for or against the Republic for the duration of the conflict 85 In January 1938 Dali unveiled Rainy Taxi a three dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within the taxi The piece was first displayed at the Galerie Beaux Arts in Paris at the Exposition Internationale du Surrealisme organized by Andre Breton and Paul Eluard The Exposition was designed by artist Marcel Duchamp who also served as host 86 87 88 In March that year Dali met Sigmund Freud thanks to Stefan Zweig As Dali sketched Freud s portrait Freud whispered That boy looks like a fanatic Dali was delighted upon hearing later about this comment from his hero 5 The following day Freud wrote to Zweig until now I have been inclined to regard the Surrealists who have apparently adopted me as their patron saint as complete fools That young Spaniard with his candid fanatical eyes and his undeniable technical mastery has changed my estimate It would indeed be very interesting to investigate analytically how he came to create that picture i e Metamorphosis of Narcissus 89 In September 1938 Salvador Dali 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 90 91 This exhibition in March April 1939 included twenty one paintings and eleven drawings Life reported that no exhibition in New York had been so popular since Whistler s Mother was shown in 1934 92 At the 1939 New York World s Fair Dali debuted his Dream of Venus Surrealist pavilion located in the Amusements Area of the exposition It featured bizarre sculptures statues mermaids and live nude models in costumes made of fresh seafood an event photographed by Horst P Horst George Platt Lynes and Murray Korman 93 Dali was angered by changes to his designs railing against mediocrities who thought that a woman with the tail of a fish is possible a woman with the head of a fish impossible 94 Soon after Franco s victory in the Spanish Civil War in April 1939 Dali wrote to Luis Bunuel denouncing socialism and Marxism and praising Catholicism and the Falange As a result Bunuel broke off relations with Dali 95 In the May issue of the Surrealist magazine Minotaure Andre Breton announced Dali s expulsion from the Surrealist group claiming that Dali had espoused race war and that the over refinement of his paranoiac critical method was a repudiation of Surrealist automatism This led many Surrealists to break off relations with Dali 96 In 1949 Breton coined the derogatory nickname Avida Dollars avid for dollars an anagram for Salvador Dali 97 This was a derisive reference to the increasing commercialization of Dali s work and the perception that Dali sought self aggrandizement through fame and fortune World War II The outbreak of World War II in September 1939 saw the Dalis in France Following the German invasion they were able to escape because on 20 June 1940 they were issued visas by Aristides de Sousa Mendes Portuguese consul in Bordeaux France They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940 98 Dali and Gala were to live in the United States for eight years splitting their time between New York and the Monterey Peninsula California 99 100 Dali spent the winter of 1940 41 at Hampton Manor the residence of Caresse Crosby in Caroline County Virginia where he worked on various projects including his autobiography and paintings for his upcoming exhibition 101 102 Dali announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April May 1941 The exhibition included nineteen paintings among them Slave Market with the Disappearing Bust of Voltaire and The Face of War and other works In his catalog essay and media comments Dali proclaimed a return to form control structure and the Golden Section Sales however were disappointing and the majority of critics did not believe there had been a major change in Dali s work 103 On September 2 1941 he hosted A Surrealistic Night in an Enchanted Forest in Monterey a charity event which attracted national attention but raised little money for charity 104 100 The Museum of Modern Art held two major simultaneous retrospectives of Dali 105 and Joan Miro 106 from November 1941 to February 1942 Dali being represented by forty two paintings and sixteen drawings Dali s work attracted significant attention of critics and the exhibition later toured eight American cities enhancing his reputation in America 107 In October 1942 Dali s autobiography The Secret Life of Salvador Dali was published simultaneously in New York and London and was reviewed widely by the press Time magazine s reviewer called it one of the most irresistible books of the year George Orwell later wrote a scathing review in the Saturday Book 108 109 A passage in the autobiography in which Dali claimed that Bunuel was solely responsible for the anti clericalism in the film L Age d Or may have indirectly led to Bunuel resigning his position at MoMA in 1943 under pressure from the State Department 110 111 Dali also published a novel Hidden Faces in 1944 with less critical and commercial success 112 In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943 Dali continued his attack on the Surrealist movement writing 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 collage 113 The critical response to the society portraits in the exhibition however was generally negative 114 In November December 1945 Dali exhibited new work at the Bignou Gallery in New York The exhibition included eleven oil paintings watercolors drawings and illustrations Works included Basket of Bread Atomic and Uranian Melancholic Ideal and My Wife Nude Contemplating her own Body Transformed into Steps the Three Vertebrae of a Column Sky and Architecture The exhibition was notable for works in Dali s new classicism style and those heralding his atomic period 115 During the war years Dali was also engaged in projects in various other fields He executed designs for a number of ballets including Labyrinth 1942 Sentimental Colloquy Mad Tristan and The Cafe of Chinitas all 1944 116 In 1945 he created the dream sequence for Alfred Hitchcock s film Spellbound 117 He also produced artwork and designs for products such as perfumes cosmetics hosiery and ties 118 Postwar in United States 1946 48 In 1946 Dali worked with Walt Disney and animator John Hench on an unfinished animated film Destino 119 Dali exhibited new work at the Bignou Gallery from November 1947 to January 1948 The 14 oil paintings and other works in the exhibition reflected Dali s increasing interest in atomic physics Notable works included Dematerialization Near the Nose of Nero The Separation of the Atom Intra Atomic Equilibrium of a Swan s Feather and a study for Leda Atomica The proportions of the latter work were worked out in collaboration with a mathematician 120 In early 1948 Dali s 50 Secrets of Magic Craftsmanship was published The book was a mixture of anecdotes practical advice on painting and Dalinian polemics 121 Later years in Spain Portrait of Dali by Allan Warren 1972 In 1948 Dali and Gala moved back into their house in Port Lligat on the coast near Cadaques For the next three decades they would spend most of their time there spending winters in Paris and New York 5 61 Dali s decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti Francoist artists and intellectuals Pablo Picasso refused to mention Dali s name or acknowledge his existence for the rest of his life 122 In 1960 Andre Breton unsuccessfully fought against the inclusion of Dali s Sistine Madonna in the Surrealist Intrusion in the Enchanter s Domain exhibition organized by Marcel Duchamp in New York 123 Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dali as the ex apologist of Hitler and friend of Franco 124 In December 1949 Dali s sister Anna Maria published her book Salvador Dali Seen by his Sister Dali was angered by passages that he considered derogatory towards his wife Gala and broke off relations with his family When Dali s father died in September 1950 Dali learned that he had been virtually disinherited in his will A two year legal dispute followed over paintings and drawings Dali had left in his family home during which Dali was accused of assaulting a public notary 125 The Hallucinogenic Toreador 1968 1970 oil on canvas 398 8 cm 299 7 cm Salvador Dali Museum As Dali moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting In 1949 he painted a study for The Madonna of Port Lligat first version 1949 and showed it to Pope Pius XII during an audience arranged to discuss Dali s marriage to Gala 126 This work was a precursor to the phase Dali dubbed Nuclear Mysticism a fusion of Einsteinian physics classicism and Catholic mysticism In paintings such as The Madonna of Port Lligat The Christ of Saint John on the Cross and The Disintegration of the Persistence of Memory Dali sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics 127 128 His later Nuclear Mysticism works included La Gare de Perpignan 1965 and The Hallucinogenic Toreador 1968 70 Dali s keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and rhinoceros horn shapes in works from the mid 1950s According to Dali the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral 129 Dali was also fascinated by the Tesseract a four dimensional cube using it for example in Crucifixion Corpus Hypercubus Dali had been extensively using optical illusions such as double images anamorphosis negative space visual puns and trompe l œil since his Surrealist period and this continued in his later work At some point Dali had a glass floor installed in a room near his studio in Port Lligat He made extensive use of it to study foreshortening both from above and from below incorporating dramatic perspectives of figures and objects into his paintings 130 17 18 172 He also experimented with the bulletist technique 131 pointillism enlarged half tone dot grids and stereoscopic images 130 He was among the first artists to employ holography in an artistic manner 132 In Dali s later years young artists such as Andy Warhol proclaimed him an important influence on pop art 133 In 1960 Dali began work on his Theatre Museum in his home town of Figueres It was his largest single project and a main focus of his energy through to 1974 when it opened He continued to make additions through the mid 1980s 134 135 In 1955 Dali met Nanita Kalaschnikoff who was to become a close friend muse and model 136 At a French nightclub in 1965 Dali met Amanda Lear a fashion model then known as Peki Oslo Lear became his protegee and one of his muses According to Lear she and Dali were united in a spiritual marriage on a deserted mountaintop 137 138 Final years and death Church of Sant Pere in Figueres site of Dali s baptism first communion and funeral Dali s crypt at the Dali Theatre Museum in Figueres displays his name and title In 1968 Dali bought a castle in Pubol for Gala and from 1971 she would retreat there for weeks at a time Dali having agreed not to visit without her written permission 61 His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health 5 In 1980 at age 76 Dali s health deteriorated sharply and he was treated for depression drug addiction and Parkinson like symptoms including a severe tremor in his right arm There were also allegations that Gala had been supplying Dali with pharmaceuticals from her own prescriptions 139 Gala died on 10 June 1982 at the age of 87 After her death Dali moved from Figueres to the castle in Pubol where she was entombed 5 61 140 In 1982 King Juan Carlos bestowed on Dali the title of Marques de Dali de Pubol 141 142 Marquess of Dali of Pubol in the nobility of Spain Pubol being where Dali then lived The title was initially hereditary but at Dali s request was changed to life only in 1983 141 In May 1983 what was said to be Dali s last painting The Swallow s Tail was revealed The work was heavily influenced by the mathematical catastrophe theory of Rene Thom However some critics have questioned how Dali could have executed a painting with such precision given the severe tremor in his painting arm 143 From early 1984 Dali s depression worsened and he refused food leading to severe undernourishment 144 Dali had previously stated his intention to put himself into a state of suspended animation as he had read that some microorganisms could do 145 In August 1984 a fire broke out in Dali s bedroom and he was hospitalized with severe burns Two judicial inquiries found that the fire was caused by an electrical fault and no findings of negligence were made 146 After his release from hospital Dali moved to the Torre Galatea an annex to the Dali Theatre Museum 147 There have been allegations that Dali was forced by his guardians to sign blank canvases that could later be used in forgeries 148 It is also alleged that he knowingly sold otherwise blank lithograph paper which he had signed possibly producing over 50 000 such sheets from 1965 until his death 5 As a result art dealers tend to be wary of late graphic works attributed to Dali 149 In July 1986 Dali had a pacemaker implanted On his return to his Theatre Museum he made a brief public appearance saying When you are a genius you do not have the right to die because we are necessary for the progress of humanity 150 151 In November 1988 Dali entered hospital with heart failure On 5 December 1988 he was visited by King Juan Carlos who confessed that he had always been a serious devotee of Dali 152 Dali gave the king a drawing Head of Europa which would turn out to be Dali s final drawing On the morning of 23 January 1989 Dali died of cardiac arrest at the age of 84 153 He is buried in the crypt below the stage of his Theatre Museum in Figueres The location is across the street from the church of Sant Pere where he had his baptism first communion and funeral and is only 450 metres 1 480 ft from the house where he was born 154 The Gala Salvador Dali Foundation currently serves as his official estate 155 The US copyright representative for the Gala Salvador Dali Foundation is the Artists Rights Society 156 Exhumation On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dali s body in order to obtain samples for a paternity suit 157 Joan Manuel Sevillano manager of the Fundacion Gala Salvador Dali The Gala Salvador Dali Foundation denounced the exhumation as inappropriate 158 The exhumation took place on the evening of 20 July and his DNA was extracted 159 On 6 September 2017 the Foundation stated that the tests carried out proved conclusively that Dali and the claimant were not related 160 161 On 18 May 2020 a Spanish court dismissed an appeal from the claimant and ordered her to pay the costs of the exhumation 162 SymbolismFrom the late 1920s Dali progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation While some of these images suggest a straightforward sexual or Freudian interpretation Dali read Freud in the 1920s others such as locusts rotting donkeys and sea urchins are idiosyncratic and have been variously interpreted 163 Some commentators have cautioned that Dali s own comments on these images are not always reliable 164 Food Food and eating have a central place in Dali s thoughts and work He associated food with beauty and sex and was obsessed with the image of the female praying mantis eating her mate after copulation 165 Bread was a recurring image in Dali s art from his early work The Basket of Bread to later public performances such as in 1958 when he gave a lecture in Paris using a 12 meter long baguette an illustrative prop 166 He saw bread as the elementary basis of continuity and sacred subsistence 167 The egg is another common Dalinian image He connects the egg to the prenatal and intrauterine thus using it to symbolize hope and love 168 It appears in The Great Masturbator The Metamorphosis of Narcissus and many other works There are also giant sculptures of eggs in various locations at Dali s house in Port Lligat 169 as well as at the Dali Theatre Museum in Figueres Both Dali and his father enjoyed eating sea urchins freshly caught in the sea near Cadaques The radial symmetry of the sea urchin fascinated Dali and he adapted its form to many artworks Other foods also appear throughout his work 170 The famous melting watches that appear in The Persistence of Memory suggest Einstein s theory that time is relative and not fixed 63 Dali later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating Camembert cheese 171 Animals The rhinoceros and rhinoceros horn shapes began to proliferate in Dali s work from the mid 1950s According to Dali the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral He linked the rhinoceros to themes of chastity and to the Virgin Mary 129 However he also used it as an obvious phallic symbol as in Young Virgin Auto Sodomized by the Horns of Her Own Chastity 172 Various other animals appear throughout Dali s work rotting donkeys and ants have been interpreted as pointing to death decay and sexual desire the snail as connected to the human head he saw a snail on a bicycle outside Freud s house when he first met Sigmund Freud and locusts as a symbol of waste and fear 168 The elephant is also a recurring image in his work for example Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening The elephants are inspired by Gian Lorenzo Bernini s sculpture base in Rome of an elephant carrying an ancient obelisk 173 Science Dali s life long interest in science and mathematics was often reflected in his work His soft watches have been interpreted as references to Einstein s theory of the relativity of time and space 63 Images of atomic particles appeared in his work soon after the atomic bombing of Hiroshima and Nagasaki 174 and strands of D N A appeared from the mid 1950s 172 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 have transcended the one of psychology My father today is Dr Heisenberg 175 176 The Disintegration of the Persistence of Memory 1954 harks back to The Persistence of Memory 1931 and in portraying that painting in fragmentation and disintegration has been interpreted as a reference to Heisenberg s quantum mechanics 175 Endeavors outside paintingDali was a versatile artist Some of his more popular works are sculptures and other objects and he is also noted for his contributions to theater fashion and photography among other areas Sculptures and other objects The Bust of a Retrospective Woman 1933 Museo Botero Bogota One of the earliest and most important surrealist sculptures by Dali from this period 177 178 From the early 1930s Dali was an enthusiastic proponent of the proliferation of three dimensional Surrealist Objects to subvert perceptions of conventional reality writing museums will fast fill with objects whose uselessness size and crowding will necessitate the construction in deserts of special towers to contain them 179 His more notable early objects include Board of Demented Associations 1930 31 Retrospective Bust of a Woman 1933 Venus de Milo with Chest of Drawers 1936 and Aphrodisiac Dinner Jacket 1936 Two of the most popular objects of the Surrealist movement were Lobster Telephone 1936 and Mae West Lips Sofa 1937 which were commissioned by art patron Edward James 180 Lobsters and telephones had strong sexual connotations for Dali who drew a close analogy between food and sex 181 The telephone was functional and James purchased four of them from Dali to replace the phones in his home The Mae West Lips Sofa was shaped after the lips of actress Mae West who was previously the subject of Dali s watercolor The Face of Mae West which may be used as a Surrealist Apartment 1934 35 180 In December 1936 Dali sent Harpo Marx a Christmas present of a harp with barbed wire strings 182 After World War II Dali authorized many sculptures derived from his most famous works and images In his later years other sculptures also appeared often in large editions whose authenticity has sometimes been questioned 183 Between 1941 and 1970 Dali created an ensemble of 39 pieces of jewelry many of which are intricate some containing moving parts The most famous assemblage The Royal Heart is made of gold and is encrusted with 46 rubies 42 diamonds and four emeralds created in such a way that the center beats like a heart 184 Dali ventured into industrial design in the 1970s with a 500 piece run of Suomi tableware by Timo Sarpaneva that Dali decorated for the German Rosenthal porcelain maker s Studio Linie 185 In 1969 he designed the Chupa Chups logo 186 He facilitated the design of the advertising campaign for the 1969 Eurovision Song Contest and created a large on stage metal sculpture that stood at the Teatro Real in Madrid 187 188 A sundial painted by Dali 27 Rue Saint Jacques Paris Theater and film In theater Dali designed the scenery for Federico Garcia Lorca s 1927 romantic play Mariana Pineda 189 For Bacchanale 1939 a ballet based on and set to the music of Richard Wagner s 1845 opera Tannhauser Dali provided both the set design and the libretto 190 He executed designs for a number of other ballets including Labyrinth 1942 Sentimental Colloquy Mad Tristan The Cafe of Chinitas all 1944 and The Three Cornered Hat 1949 191 116 Dali became interested in film when he was young going to the theater most Sundays 192 By the late 1920s he was fascinated by the potential of film to reveal the unlimited fantasy born of things themselves 193 and went on to collaborate with the director Luis Bunuel on two Surrealist films the 17 minute short Un Chien Andalou 1929 and the feature film L Age d Or 1930 Dali and Bunuel agree that they jointly developed the script and imagery of Un Chien Andalou but there is controversy over the extent of Dali s contribution to L Age d Or 194 Un Chien Andalou features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality 195 L Age d Or is more overtly anti clerical and anti establishment and was banned after right wing groups staged a riot in the Parisian theater where it was being shown 196 Summarizing the impact of these two films on the Surrealist film movement one commentator has stated If Un Chien Andalou stands as the supreme record of Surrealism s adventures into the realm of the unconscious then L Age d Or is perhaps the most trenchant and implacable expression of its revolutionary intent 197 After he collaborated with Bunuel Dali worked on several unrealized film projects including a published script for a film Babaouo 1932 a scenario for Harpo Marx called Giraffes on Horseback Salad 1937 and an abandoned dream sequence for the film Moontide 1942 198 In 1945 Dali created the dream sequence in Hitchcock s Spellbound but neither Dali nor the director was satisfied with the result 199 Dali also worked with Walt Disney and animator John Hench on the short film Destino in 1946 119 After initially being abandoned the animated film was completed in 2003 by Baker Bloodworth and Walt Disney s nephew Roy E Disney Between 1954 and 1961 Dali worked with photographer Robert Descharnes on The Prodigious History of the Lacemaker and the Rhinoceros but the film was never completed 200 In the 1960s Dali worked with some directors on documentary and performance films including with Philippe Halsman on Chaos and Creation 1960 Jack Bond on Dali in New York 1966 and Jean Christophe Averty on Soft Self Portrait of Salvador Dali 1966 201 Dali collaborated with director Jose Montes Baquer on the pseudo documentary film Impressions of Upper Mongolia 1975 in which Dali narrates a story about an expedition in search of giant hallucinogenic mushrooms 202 In the mid 1970s film director Alejandro Jodorowsky initially cast Dali in the role of the Padishah Emperor in a production of Dune based on the novel by Frank Herbert However Jodorowsky changed his mind after Dali publicly supported the execution of alleged ETA terrorists in December 1975 The film was ultimately never made 203 204 In 1972 Dali began to write the scenario for an opera poem called Etre Dieu To Be God The Spanish writer Manuel Vazquez Montalban wrote the libretto and Igor Wakhevitch the music The opera poem was recorded in Paris in 1974 with Dali in the role of the protagonist 205 Fashion and photography Dali Atomicus photo by Philippe Halsman 1948 shown before support wires were removed from the image Fashion designer Elsa Schiaparelli worked with Dali from the 1930s and commissioned him to produce a white dress with a lobster print Other designs Dali 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 In 1950 Dali created a special costume for the year 2045 with Christian Dior 206 Photographers with whom he collaborated include Man Ray Brassai Cecil Beaton and Philippe Halsman Halsman produced the Dali Atomica series 1948 inspired by Dali s painting Leda Atomica which in one photograph depicts a painter s easel three cats a bucket of water and Dali himself floating in the air 206 Architecture Dali Theatre Museum in Figueres also holds the crypt where Dali is buried Dali s architectural achievements include his Port Lligat house near Cadaques as well as his Theatre Museum in Figueres A major work outside of Spain was the temporary Dream of Venus Surrealist pavilion at the 1939 New York World s Fair which contained several unusual sculptures and statues including live performers posing as statues 93 In 1958 Dali completed Crisalida a temporary installation promoting a drug which was exhibited at the 1958 Convention of the American Medical Association in San Francisco 207 Literary works In his only novel Hidden Faces 1944 Dali describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolizes the decadence of the 1930s The Comte de Grandsailles and Solange de Cleda pursue a love affair but interwar political turmoil and other vicissitudes drive them apart It is variously set in Paris rural France Casablanca in North Africa and Palm Springs in the United States Secondary characters include aging widow Barbara Rogers her bisexual daughter Veronica Veronica s sometime female lover Betka and Baba a disfigured U S fighter pilot 208 The novel was written in New York and translated by Haakon Chevalier 112 His other literary works include The Secret Life of Salvador Dali 1942 Diary of a Genius 1966 and Oui The Paranoid Critical Revolution 1971 Dali also published poetry essays art criticism and a technical manual on art 209 Graphic arts Dali worked extensively in the graphic arts producing many drawings etchings and lithographs Among the most notable of these works are forty etchings for an edition of Lautreamont s The Songs of Maldoror 1933 and eighty drypoint reworkings of Goya s Caprichos 1973 77 210 From the 1960s however Dali would often sell the rights to images but not be involved in the print production itself In addition a large number of fakes were produced in the 1980s and 1990s thus further confusing the Dali print market 149 Book illustrations were an important part of Dali s work throughout his career His first book illustration was for the 1924 publication of the Catalan poem Les bruixes de Llers ca The Witches of Liers by his friend and schoolmate poet Carles Fages de Climent 211 212 213 His other notable book illustrations apart from The Songs of Maldoror include 101 watercolors and engravings for The Divine Comedy 1960 and 100 drawings and watercolors for The Arabian Nights 1964 214 Politics and personalityPolitics and religion Dali in the 1960s sporting his characteristic flamboyant moustache holding his pet ocelot Babou As a youth Dali identified as communist anti monarchist and anti clerical 215 and in 1924 he was briefly imprisoned by the Primo de Rivera dictatorship as a person intensely liable to cause public disorder 216 When Dali officially joined the Surrealist group in 1929 his political activism initially intensified In 1931 he became involved in the Workers and Peasants Front delivering lectures at meetings and contributing to their party journal 217 However as political divisions within the Surrealist group grew Dali soon developed a more apolitical stance refusing to publicly denounce fascism In 1934 Andre Breton accused him of being sympathetic to Hitler and Dali narrowly avoided being expelled from the group 218 In 1935 Dali wrote a letter to Breton suggesting that non white races should be enslaved 219 After the outbreak of the Spanish Civil War in 1936 Dali avoided taking a public stand for or against the Republic 85 However immediately after Franco s victory in 1939 Dali praised Catholicism and the Falange and was expelled from the Surrealist group 95 After Dali s return to his native Catalonia in 1948 he publicly supported Franco s regime and announced his return to the Catholic faith 220 Dali was granted an audience with Pope Pius XII in 1949 and with Pope John XXIII in 1959 He had official meetings with General Franco in June 1956 October 1968 and May 1974 221 In 1968 Dali stated that on Franco s death there should be no return to democracy and Spain should become an absolute monarchy 222 In September 1975 Dali publicly supported Franco s decision to execute three alleged Basque terrorists and repeated his support for an absolute monarchy adding Personally I m against freedom I m for the Holy Inquisition In the following days he fled to New York after his home in Port Lligat was stoned and he had received numerous death threats 223 When King Juan Carlos visited the ailing Dali in August 1981 Dali told him I have always been an anarchist and a monarchist 224 Dali espoused a mystical view of Catholicism and in his later years he claimed to be a Catholic and an agnostic 225 He was interested in the writings of the Jesuit priest and philosopher Teilhard de Chardin 226 and his Omega Point theory Dali s painting Tuna Fishing Homage to Meissonier 1967 was inspired by his reading of Chardin 227 Sexuality Dali s sexuality had a profound influence on his work He stated that as a child he saw a book with graphic illustrations of venereal diseases and this provoked a life long disgust of female genitalia and a fear of impotence and sexual intimacy Dali frequently stated that his main sexual activity involved voyeurism and masturbation and his preferred sexual orifice was the anus 228 Dali said that his wife Gala was the only person with whom he had achieved complete coitus 229 From 1927 Dali s work featured graphic and symbolic sexual images usually associated with other images evoking shame and disgust Images of anality and excrement also abound in his work from this time Some of the most notable works reflecting these themes include The First Days of Spring 1929 The Great Masturbator 1929 and The Lugubrious Game 1929 Several of Dali s intimates in the 1960s and 1970s have stated that he would arrange for selected guests to perform choreographed sexual activities to aid his voyeurism and masturbation 230 231 232 Personality Dali was renowned for his eccentric and ostentatious behavior throughout his career In 1941 the Director of Exhibitions and Publications at MoMA wrote The fame of Salvador Dali has been an issue of particular controversy for more than a decade Dali s conduct may have been undignified but the greater part of his art is a matter of dead earnest 233 When Dali was elected to the French Academy of Fine Arts in 1979 one of his fellow academicians stated that he hoped Dali would now abandon his clowneries 234 In 1936 at the premiere screening of Joseph Cornell s film Rose Hobart at Julien Levy s gallery in New York City Dali knocked over the projector in a rage My idea for a film is exactly that he said shortly afterward I never wrote it down or told anyone but it is as if he had stolen it 235 In 1939 while working on a window display for Bonwit Teller he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window 5 In 1955 he delivered a lecture at the Sorbonne arriving in a Rolls Royce full of cauliflowers 236 To promote Robert Descharnes 1962 book The World of Salvador Dali he appeared in a Manhattan bookstore on a bed wired up to a machine that traced his brain waves and blood pressure He would autograph books while thus monitored and the book buyer would also be given the paper chart recording 5 After World War II Dali became one of the most recognized artists in the world and his long cape walking stick haughty expression and upturned waxed mustache became icons of his brand His boastfulness and public declarations of his genius became essential elements of the public Dali persona every morning upon awakening I experience a supreme pleasure that of being Salvador Dali 237 Dali frequently traveled with his pet ocelot Babou even bringing it aboard the luxury ocean liner SS France 238 He was also known to avoid paying at restaurants by executing drawings on the checks he wrote His theory was the restaurant would never want to cash such a valuable piece of art and he was usually correct 239 Dali s fame meant he was a frequent guest on television in Spain France and the United States including appearances on the Tonight Show with Johnny Carson on 7 January 1963 240 The Mike Wallace Interview 241 and the panel show What s My Line 242 243 Dali appeared on The Dick Cavett Show on 6 March 1970 carrying an anteater 244 He also appeared in numerous advertising campaigns such for Lanvin fr chocolates 245 246 and Braniff International Airlines in 1968 247 LegacyTwo major museums are devoted to Dali s work the Dali Theatre Museum in Figueres Catalonia Spain and the Salvador Dali Museum in St Petersburg Florida U S Dali s life and work have been an important influence on pop art other Surrealists and contemporary artists such as Jeff Koons and Damien Hirst 7 8 He has been portrayed on film by Robert Pattinson in Little Ashes 2008 and by Adrien Brody in Midnight in Paris 2011 The Salvador Dali Desert in Bolivia and the Dali crater on the planet Mercury are named for him 248 249 The Spanish television series Money Heist 2017 2021 includes characters wearing a costume of red jumpsuits and Dali masks 250 The creator of the series stated that the Dali mask was chosen because it was an iconic Spanish image 251 The Gala Salvador Dali Foundation protested against the use of Dali s image without the authorisation of the Dali estate 252 Following the popular success of the series there were reports of people in various countries wearing the costume while participating in political protests committing crimes or as fancy dress 250 253 Honors1964 Knight Grand Cross of the Order of Isabella the Catholic 254 1972 Associate member of the Royal Academy of Science Letters and Fine Arts of Belgium 255 1978 Associate member of the Academie des Beaux Arts of the Institut de France 256 1981 Knight Grand Cross of the Order of Charles III 257 1982 Created 1st Marquess of Dali of Pubol by King Juan Carlos 142 List of selected worksMain article List of works by Salvador Dali Dali produced over 1 600 paintings and numerous graphic works sculptures three dimensional objects and designs 258 Below is a sample of important and representative works Landscape Near Figueras 1910 14 Vilabertran 1910 14 Cabaret Scene 1922 Night Walking Dreams 1922 The Basket of Bread 1926 Composition with Three Figures Neo Cubist Academy 1927 Honey is Sweeter than Blood 1927 Un Chien Andalou An Andalusian Dog 1929 film in collaboration with Luis Bunuel The Lugubrious Game 1929 The Great Masturbator 1929 The First Days of Spring 1929 L Age d Or The Golden Age 1930 film in collaboration with Luis Bunuel Board of Demented Associations 1930 31 Surrealist object Premature Ossification of a Railway Station 1931 The Persistence of Memory 1931 Retrospective Bust of a Woman 1933 mixed media sculpture collage The Ghost of Vermeer of Delft Which Can Be Used As a Table c 1934 Lobster Telephone 1936 Venus de Milo with Drawers 1936 Soft Construction with Boiled Beans Premonition of Civil War 1936 Metamorphosis of Narcissus 1937 Swans Reflecting Elephants 1937 The Burning Giraffe 1937 Mae West Lips Sofa 1937 Apparition of Face and Fruit Dish on a Beach 1938 Shirley Temple The Youngest Most Sacred Monster of the Cinema in Her Time 1939 Slave Market with the Disappearing Bust of Voltaire 1940 The Face of War also known as The Visage of the War 1940 Geopoliticus Child Watching the Birth of the New Man 1943 Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening c 1944 Basket of Bread Rather Death than Shame 1945 The Temptation of St Anthony 1946 The Elephants 1948 also known as Project for As You Like It Leda Atomica 1947 1949 The Madonna of Port Lligat 1949 Christ of Saint John of the Cross also known as The Christ 1951 Galatea of the Spheres 1952 also known as Gala Placidia The Disintegration of the Persistence of Memory 1952 54 Crucifixion Corpus Hypercubus c 1954 also known as Hypercubic Christ Young Virgin Auto Sodomized by the Horns of Her Own Chastity 1954 The Sacrament of the Last Supper 1955 Still Life Moving Fast c 1956 also known as Fast Moving Still Life The Discovery of America by Christopher Columbus 1958 Perpignan Railway Station c 1965 Tuna Fishing 1966 67 The Hallucinogenic Toreador 1970 Nieuw Amsterdam 1974 object sculpture The Swallow s Tail c 1983 Dali museums and permanent exhibitionsDali Theatre Museum Figueres Catalonia Spain holds the largest collection of Dali s work Gala Dali House Museum Castle of Pubol in Pubol Catalonia Spain Museo Nacional Centro de Arte Reina Sofia Reina Sofia Museum Madrid Spain holds a significant collection Salvador Dali House Museum Port Lligat Catalonia Spain Salvador Dali Museum St Petersburg Florida contains the collection of Reynolds and Eleanor Morse and over 1500 works by Dali including seven large masterworks Gallery Gala in the Window 1933 Marbella The Rainbow 1972 M T Abraham Foundation Rinoceronte vestido con puntillas 1956 Puerto Jose Banus Plaza de Dali Dali Square Madrid Perseo Perseus Marbella Children at Dali exhibition in Sakip Sabanci Museum IstanbulSee alsoList of Spanish artists Salvador Dali and DanceNotes Dali s name varied over his life His birth name was officially registered as Salvador Domingo Felipe Jacinto Dali Domenech His first names were in Spanish and his surnames castilianized despite being born in Catalonia as at the time the Catalan language was banned from official acts His complete name in Catalan is Salvador Domenec Felip Jacint Dali i Domenech In 1977 Catalan names were legalized and he adopted the hybrid form first names in Spanish surnames in Catalan This form and the purely Spanish and Catalan forms can all be seen in print today In isolation Dali is pronounced deˈli in Catalan and daˈli in Spanish References Dali Archived 8 March 2016 at the Wayback Machine Random House Webster s Unabridged Dictionary Dali Archived 29 August 2017 at the Wayback Machine Merriam Webster Dictionary Gibson Ian The Shameful Life of Salvador Dali London Faber and Faber 1997 Chs 2 3 Gibson Ian The Shameful Life of Salvador Dali 1997 Saladyga Stephen Francis 2006 The Mindset of Salvador Dali Lamplighter Niagara University Archived from the original on 6 September 2006 Retrieved 22 July 2006 a b c d e f g h i j k l m n o Meisler Stanley April 2005 The Surreal World of Salvador Dali Smithsonian com Smithsonian Magazine Archived from the original on 18 May 2014 Retrieved 12 July 2014 a b Gibson Ian 1997 passim a b Koons Jeff March 2005 Who Paints Bread Better than Dali Archived from the original on 9 June 2020 Retrieved 1 April 2020 a b Salvador Dali s iconic Lobster Telephone acquired by National Galleries of Scotland National Galleries Scotland 17 December 2018 Archived from the original on 6 August 2020 Retrieved 20 May 2020 Gibson Ian 1997 p 22 Dali recupera su casa natal que sera un museo en 2010 El Pais 14 February 2008 Archived from the original on 2 July 2017 Retrieved 26 June 2017 Gibson Ian 1997 pp 6 459 633 689 a b c d e f Llongueras Lluis 2004 Dali Ediciones B Mexico ISBN 84 666 1343 9 Gibson Ian 1997 pp 16 82 634 644 a b Rojas Carlos Salvador Dali Or the Art of Spitting on Your Mother s Portrait Archived 19 April 2016 at the Wayback Machine Penn State Press 1993 ISBN 0 271 00842 3 Gibson Ian 1997 Dali The Secret Life of Salvador Dali 1948 London Vision Press p 33 Ian Gibson 1997 The Shameful Life of Salvador Dali W W Norton amp Company Archived from the original on 19 February 2017 Retrieved 12 February 2017 Gibson found out that Dali 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 Dali s mother s family the Domenech of Barcelona had Jewish roots a b Gibson Ian 1997 pp 238 39 a b Dali Secret Life p 2 Gibson Ian 1997 p 23 Dali Biography 1904 1989 Part Two artelino com Archived from the original on 25 October 2006 Retrieved 30 September 2006 Gibson Ian 1997 p 454 Martin Otin Jose Antonio 2011 Un tanguito de arrabal El futbol tiene musica Corner ISBN 978 84 15242 00 0 Archived from the original on 8 October 2021 Retrieved 13 September 2020 Who was Salvador Dali Collection Morohashi Museum of Modern Art dali jp Archived from the original on 15 December 2018 Retrieved 15 December 2018 Gibson Ian 1997 pp 78 81 Gibson Ian 1997 p 82 Dali Secret Life pp 152 53 As listed in his prison record of 1924 Archived 25 February 2021 at the Wayback Machine aged 20 However his hairdresser and biographer Luis Llongueras stated Dali was 1 74 metres 5 ft 8 1 2 in tall Gibson Ian 1997 p 90 Gibson Ian 1997 pp 92 98 For more in depth information about the Lorca Dali connection see Lorca Dali el Amor Que no pudo ser and The Shameful Life of Salvador Dali both by Ian Gibson Bosquet Alain Conversations with Dali Archived 28 July 2011 at the Wayback Machine 1969 pp 19 20 PDF Salvador Dali and the Museo del Prado A Prolonged Fascination Fundacio Gala Salvador Dali Archived from the original on 15 July 2020 Retrieved 15 July 2020 Salvador Dali and the Museo del Prado A Prolonged Fascination Fundacio Gala Salvador Dali Archived from the original on 15 July 2020 Retrieved 15 July 2020 Michael Elsohn Ross Salvador Dali and the Surrealists Their Lives and Ideas 21 Activities Archived 6 August 2020 at the Wayback Machine Chicago Review Press 2003 p 24 ISBN 1 61374 275 4 Gibson Ian 1997 pp 97 98 Gibson Ian 1997 pp 116 119 Gibson Ian 1997 pp 123 25 Felix Fanes Salvador Dali The Construction of the Image 1925 1930 Archived 22 April 2018 at the Wayback Machine Yale University Press 2007 ISBN 0 300 09179 6 Exposicio Salvador Dali Galeries Dalmau 14 28 November 1925 exhibition catalog Archived from the original on 2 May 2018 Retrieved 24 May 2018 Gibson Ian 1997 pp 126 27 Gibson Ian 1997 pp 130 31 Gibson Ian 1997 p 163 Paintings Gallery No 5 Dali gallery com Archived from the original on 27 August 2010 Retrieved 22 August 2010 Elisenda Andres Pamies Les Galeries Dalmau un project de modernist a la Ciutat de Barcelona Archived 9 August 2017 at the Wayback Machine 2012 13 Facultat d Humanitats Universitat Pompeu Fabra Exposicio de Salvador Dali Galeries Dalmau Passeig de Gracia 31 December 1926 14 January 1927 exhibition catalog other versions Archived from the original on 2 May 2018 Retrieved 24 May 2018 Gibson Ian 1997 pp 147 49 Gibson Ian 1997 p 162 Gibson Ian 1997 p 171 Gibson Ian 1997 p 287 Gibson Ian 1997 pp 186 190 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 Phelan Joseph Artcyclopedia com Archived from the original on 13 March 2014 Retrieved 22 August 2010 Roger Rothman Tiny Surrealism Salvador Dal and the Aesthetics of the Small Archived 6 August 2020 at the Wayback Machine U of Nebraska Press 2012 p 202 ISBN 0 300 12106 7 Salvador Dali and the Spanish Baroque From Still Life to Velazquez Archived 6 August 2020 at the Wayback Machine Salvado Dali Museum St Petersburg Fl 2007 Koller Michael January 2001 Un Chien Andalou Senses of Cinema in French Archived from the original on 25 December 2010 Retrieved 26 July 2006 Shelley Landry Dali Wows Crowd in Philadelphia Archived 8 November 2017 at the Wayback Machine Unbound The College of New Jersey Spring 2005 Retrieved on 22 July 2006 Gibson Ian 1997 pp 218 20 Gibson Ian 1997 pp 206 08 231 32 a b Gibson Ian 1997 p 237 a b c d Gala Biography Dali Gala Salvador Dali Foundation Archived from the original on 26 June 2012 Retrieved 27 May 2012 Clocking in with Salvador Dali Salvador Dali s Melting Watches Archived 21 September 2006 at the Wayback Machine PDF from the Salvador Dali Museum Retrieved on 19 August 2006 a b c Salvador Dali La Conquete de l irrationnel Paris Editions surrealistes 1935 p 25 Gibson Ian 1997 pp 279 283 299 300 Gibson Ian 1997 pp 314 15 Gibson Ian 1997 p 316 Gibson Ian 1997 p 323 Gibson Ian 1997 p 492 Gibson Ian 1997 pp 421 22 508 10 620 21 Amengual Margalida 14 December 2016 An opera on the relationship between Salvador Dali and Gala arrives at Barcelona s Liceu Catalan News Agency CNA Intracatalonia SA Archived from the original on 20 December 2016 Retrieved 27 May 2012 Gibson Ian 1997 pp 336 41 Gibson Ian 1997 pp 342 43 Greeley Robin Adele 2006 Surrealism and the Spanish Civil War Archived 19 April 2016 at the Wayback Machine Yale University Press p 81 ISBN 0 300 11295 5 Clements Paul 2016 The Creative Underground Art Politics and Everyday Life Taylor and Francis ISBN 978 1 317 50128 2 Archived from the original on 6 February 2022 Retrieved 11 September 2017 Shanes Eric 2012 The Life and Masterworks of Salvador Dali Archived 9 February 2020 at the Wayback Machine Parkstone p 53 ISBN 1 78042 879 0 Salvador Dali Louis Pauwels Les passions Selon Dali Archived 17 September 2018 at the Wayback Machine Denoel 1968 Pierre Ajame La Double vie de Salvador Dali recit Archived 17 September 2018 at the Wayback Machine Editions Ramsay 1984 p 125 Jackaman Rob 1989 The Course of English Surrealist Poetry Since the 1930s Archived 19 April 2016 at the Wayback Machine Lewiston New York Edwin Mellen Press ISBN 0 88946 932 6 Gibson Ian 1997 pp 359 60 Gibson Ian 1997 pp 358 59 Gibson Ian 1997 pp 334 364 67 Gibson Ian 1997 pp 306 308 Salvador Dali Lobster Telephone National Gallery of Australia August 1994 Archived from the original on 19 March 2017 Retrieved 23 June 2017 Gibson Ian 1997 pp 361 63 a b Gibson Ian 1997 pp 376 77 and passim Salvador Dali s Biography Gala salvador dali org Salvador Dali Foundation Archived from the original on 6 November 2006 Retrieved 14 February 2015 Herbert James D 1998 Paris 1937 Cornell University Press p 27 ISBN 978 0 8014 3494 5 Retrieved 14 February 2015 Cohen Solal Annie 2010 Leo and His Circle ISBN 978 1 4000 4427 6 Archived from the original on 13 December 2013 Retrieved 14 February 2015 Rubin William S 1968 Dada and Surrealist Art Harry N Abrams Inc Publishers New York 525 pp Salvador Dali Exhibition Exhibition Catalogue 16 February through 15 May 2005 Fischer John Salvador Dali Exhibition Philadelphia Museum of Art Archived from the original on 7 July 2011 Retrieved 12 May 2014 Gibson Ian 1997 pp 389 90 a b Schaffner Ingrid Photogr by Eric Schaal 2002 Salvador Dali s Dream of Venus the surrealist funhouse from the 1939 World s Fair 1 ed New York Princeton Architectural Press ISBN 978 1 56898 359 2 Gibson Ian 1997 pp 391 92 a b Gibson Ian 1997 p 395 Gibson Ian 1997 pp 387 396 97 Gibson Ian 1997 p 453 Dali Sousa Mendes Foundation 20 June 1940 Archived from the original on 2 November 2013 Retrieved 12 May 2014 Schmalz David A world class Salvador Dali art collection comes to Monterey Monterey County Weekly Archived from the original on 26 August 2018 Retrieved 6 June 2016 a b Gibson Ian 1997 pp 411 12 Crowder Bland 31 January 2014 Hola Dali Virginia Living Cape Fear Publishing Archived from the original on 1 July 2016 Retrieved 27 June 2016 Gibson Ian 1997 pp 404 05 Gibson Ian 1997 pp 409 11 Neal Hotelling 26 August 2022 Call the sheriff Dali s been robbed PDF Carmel Pine Cone Carmel by the Sea California p 23 Archived PDF from the original on 9 October 2022 Retrieved 26 August 2022 Soby James Thrall 1941 Salvador Dali Paintings Drawings Prints The Museum of Modern Art New York 87 pp Sweeney James Johnson 1941 Joan Miro The Museum of Modern Art New York 87 pp Gibson Ian 1997 pp 413 16 Gibson Ian 1997 pp 416 20 Orwell George Benefit of Clergy Some Notes on Salvador Dali Archived 21 April 2016 at the Wayback Machine theorwellprize co uk Retrieved 24 February 2012 Luis Bunuel My Last Sigh The Autobiography of Luis Bunuel Vintage 1984 ISBN 0 8166 4387 3 Gibson Ian 1997 p 419 a b Gibson Ian 1997 pp 424 30 Descharnes Robert and Nicolas Salvador Dali New York Konecky amp Konecky 1993 p 35 Gibson Ian 1997 p 423 Gibson Ian 1997 pp 434 36 a b Gibson Ian 1997 pp 431 43 Gibson Ian 1997 pp 434 45 Gibson Ian 1997 pp 430 31 a b Gibson Ian 1997 pp 436 38 Gibson Ian 1997 pp 440 42 Gibson Ian 1997 pp 442 44 Gibson Ian 1997 p 470 Ignacio Javier Lopez es The Old Age of William Tell A study of Bunuel sTristana MLN 116 2001 295 314 Gibson Ian 1997 pp 497 98 Gibson Ian 1997 pp 454 61 Gibson Ian 1997 pp 450 53 Salvador Dali Bio Art on 5th Archived from the original on 4 May 2006 Retrieved 22 July 2006 Gibson Ian 1997 pp 461 63 a b Elliott H King in Dawn Ades ed Dali Bompiani Arte Milan 2004 p 456 a b Ades Dawn ed 2000 Dali s optical illusions Wadsworth Atheneum Museum of Art January 21 March 26 2000 Hirshhorn Museum and Sculpture Garden April 19 June 18 2000 Scottish National Gallery of Modern Art July 25 October 1 2000 New Haven Connecticut Yale Univ Press ISBN 978 0 300 08177 0 BP Editor The Phantasmagoric Universe Espace Dali A Montmartre Bonjour Paris in French Archived from the original on 28 May 2006 Retrieved 22 August 2006 a href Template Cite web html title Template Cite web cite web a author has generic name help The History and Development of Holography Archived 12 July 2011 at the Wayback Machine Holophile Retrieved on 22 August 2006 Hello Dali Carnegie Magazine Archived from the original on 27 September 2006 Retrieved 22 August 2006 Pitxot Antoni Montse Aguer Teixidor photography Jordi Puig translation Steve Cedar 2007 The Dali Theatre Museum Sant Lluis Menorca Triangle Postals ISBN 978 84 8478 288 9 Figueres Teatre Museu Dali History Fundacio Gala Salvador Dali 2010 Archived from the original on 3 April 2014 Retrieved 20 June 2010 Gibson Ian 1997 pp 483 97 Prose Francine 2000 The Lives of the Muses Nine Women and the Artists they Inspired Archived 18 April 2016 at the Wayback Machine Harper Perennial ISBN 0 06 055525 4 Lear Amanda 1986 My Life with Dali Beaufort Books ISBN 0 8253 0373 7 Gibson Ian 1997 pp 574 79 Gibson Ian 1997 pp 589 91 a b Excerpts from the BOE Archived 5 January 2012 at the Wayback Machine Website Heraldica y Genealogia Hispana a b Dali as Marques de Dali de Pubol Archived 30 June 2012 at archive today Boletin Oficial del Estado the official gazette of the Spanish government Gibson Ian 1997 pp 603 604 Gibson Ian 1997 pp 602 610 Salvador Dali Paths to Immortality History of Art Archived from the original on 31 July 2017 Retrieved 23 June 2017 Gibson Ian 1997 pp 604 10 Gibson Ian 1997 p 610 Mark Rogerson 1989 The Dali Scandal An Investigation Victor Gollancz ISBN 978 0 575 03786 1 a b Forde Kevin 2011 Investing in Collectables An Investor s Guide to Turning Your Passion Into a Portfolio Archived 4 February 2020 at the Wayback Machine Wiley p 170 ISBN 1 74246 821 7 Somatemps Catalanitat es Hispanitat Ultima entrevista a Dali Viva el Rey viva Espana viva Cataluna video published 26 March 2017 26 March 2017 Archived from the original on 9 July 2017 Retrieved 22 July 2017 El Pais Dali vuelve a casa 17 July 1986 El Pais 16 July 1986 Archived from the original on 14 September 2017 Retrieved 22 July 2017 Etherington Smith Meredith The Persistence of Memory A Biography of Dali Archived 19 April 2016 at the Wayback Machine p 411 1995 Da Capo Press ISBN 0 306 80662 2 Artner Alan G 24 January 1989 Surrealist painter Salvador Dali flamboyant art revolutionary Chicago Tribune p 9 ProQuest 1015353001 Retrieved 9 May 2022 Etherington Smith Meredith The Persistence of Memory A Biography of Dali pp xxiv 411 12 1995 Da Capo Press ISBN 0 306 80662 2 Salvador Dali s Museums Gala www salvador dali org Salvador Dali Foundation Archived from the original on 25 June 2014 Retrieved 26 June 2017 Most frequently requested artists list of the Artists Rights Society Artists Rights Society Archived from the original on 31 January 2009 La exhumacion del cuerpo de Salvador Dali se inicia hoy a partir de las 20 horas Marca in Spanish 20 July 2017 Archived from the original on 20 July 2017 Retrieved 20 July 2017 Grael Vanessa 21 July 2017 La fundacion Gala Salvador Dali carga contra la exhumacion del pintor Queremos una compensacion patrimonial El Mundo in Spanish Figueres Retrieved 21 July 2017 permanent dead link Redaccion 20 July 2017 Muelas unas y huesos las pruebas que demostraran la supuesta paternidad de Dali La Vanguardia in Spanish Archived from the original on 20 July 2017 Retrieved 20 July 2017 Salvador Dali DNA test proves woman is not his daughter Archived 16 June 2018 at the Wayback Machine BBC News Josep Fita 21 July 2017 El bigote de Dali sigue intacto marcando las 10 y 10 es un milagro La Vanguardia in Spanish Barcelona Archived from the original on 10 November 2021 Retrieved 21 July 2017 Court dismisses appeal from woman claiming to be Salvador Daii s daughter The Guardian 19 May 2020 Archived from the original on 20 May 2020 Retrieved 20 May 2020 Gibson Ian 1997 pp 207 08 Gibson Ian 1997 p 478 Gibson Ian 1997 p 312 Pine Julia 1 January 2010 Breaking Dalinian Bread InVisible Culture Archived from the original on 30 July 2020 Retrieved 3 April 2020 Dali Salvador 1993 The Secret Life of Salvador Dali New York Dover Publications p 306 ISBN 978 0 486 27454 6 a b Salvador Dali s symbolism County Hall Gallery Archived from the original on 2 December 2006 Retrieved 28 July 2006 Stone Peter 7 May 2007 Frommer s Barcelona 2nd ed Wiley Publishing Inc p 284 ISBN 978 0 470 09692 5 Archived from the original on 10 December 2021 Retrieved 23 March 2017 Salvador Dali Liquid Desire ngv vic gov au Archived from the original on 24 March 2015 Retrieved 14 February 2015 Salvador Dali The Secret Life of Salvador Dali New York Dial Press 1942 p 317 a b Gibson Ian 1997 p 478 Michael Taylor in Dawn Ades ed Dali Milan Bompiani 2004 p 342 Gibson Ian 1997 pp 433 34 a b Datta Suman Dali Explorations into the domain of science The Triangle Online College Publisher p 1 Archived from the original on 8 December 2010 Retrieved 8 August 2006 Salvador Dali Anti Matter Manifesto Carstairs Gallery New York December 1958 January 1959 quoted in Elliott H King Nuclear mysticism Salvador Dali Liquid Desire National Gallery of Victoria Melbourne 2009 p 247 Retrospective bust of a woman Exhibitions Fundacio Gala Salvador Dali Obras comentadas Busto retrospectivo de una mujer de Salvador Dali banrepcultural org in Spanish Gibson Ian 1997 pp 289 93 a b Lobster telephone Archived 23 July 2021 at the Wayback Machine National Gallery of Australia Retrieved on 4 August 2006 Tate Collection Lobster Telephone by Salvador Dali Archived 9 October 2011 at the Wayback Machine Tate Online Retrieved on 4 August 2006 Gibson Ian 1997 p 370 Peterson Than 1 December 2008 The Dali Sculpture Mess Art News Archived from the original on 7 August 2020 Retrieved 2 April 2020 Owen Cheatham Foundation Dali a study of his art in jewels the collection of the Owen Cheatham Foundation New York New York Graphic Society 1959 p 14 Faenza Goldmedaille fur SUOMI Artis 29 8 1976 ISSN 0004 3842 H Vazquez Carlos 2 July 2015 Cuando Dali reinvento Chupa Chups Forbes in Spanish Archived from the original on 4 June 2019 Retrieved 17 March 2018 Calandria Juan 29 March 2017 Madrid acoge el festival de Eurovision de 1969 Eurovision Planet in Spanish Archived from the original on 17 March 2018 Retrieved 17 March 2018 Jacques 26 April 2009 40 anos de Eurovision 1969 Segunda parte Canciones 1 5 Ole Vision in Spanish Archived from the original on 17 March 2018 Retrieved 17 March 2018 Liukkonen Petri Federico Garcia Lorca Books and Writers kirjasto sci fi Finland Kuusankoski Public Library Archived from the original on 10 February 2015 Gibson Ian 1997 pp 385 398 99 Past Exhibitions Haggerty Museum of Art Marquette University Archived from the original on 3 September 2006 Retrieved 8 August 2006 Dali amp Film Edt Gale Matthew Salvador Dali Museum Inc St Petersburg Florida 2007 Gibson Ian 1997 p 174 Gibson Ian 1997 pp 248 49 Eberwein Robert T 2014 Film and the Dream Screen A Sleep and a Forgetting Archived 17 February 2020 at the Wayback Machine Princeton University Press p 83 ISBN 1 4008 5389 3 Gibson Ian 1997 pp 267 74 Short Robert The Age of Gold Surrealist Cinema Persistence of Vision Vol 3 2002 Dali Painting and Film Press release Museum of Modern Art June 2008 Gibson Ian 1997 pp 434 35 Gibson Ian 1997 p 479 Gibson Ian 1997 pp 519 726 Elliott H King Dali Surrealism and Cinema Archived 21 June 2007 at the Wayback Machine Kamera Books 2007 p 169 Gibson Ian 1997 p 562 Jodorowsky s Dune Official Website of the Documentary Synopsis jodorowskysdune com Archived from the original on 17 February 2015 Retrieved 14 February 2015 Gibson Ian 1997 pp 556 557 a b Dali Rotterdam Museum Boijmans Archived 22 October 2006 at the Wayback Machine Paris Contemporary Designs Retrieved on 8 August 2006 Weir Simon 29 July 2022 Surrealist Architecture Dali s 1958 Crisalida San Francisco Journal of Surrealism and the Americas 13 1 ISSN 2326 0459 Salvador Dali Hidden faces London Owen 1973 Gibson Ian 1997 pp 710 13 and passim Gibson Ian 1997 pp 308 13 567 Les bruixes de Llers Fages de Climent Carles Ilustra Salvador Dali Editorial Poliglota imp Altes 1924 Archived from the original on 20 March 2020 Retrieved 20 March 2020 Dali Salvador Carles Fages de Climent Les bruixes de Llers primera edicion Barcelona Editorial Poliglota 1924 Archived 20 March 2020 at the Wayback Machine Sotheby s Paris 18 June 2019 The shameful life of Salvador Dali the witches of Liars Extract Ian Gibson on Dali and the theme of Les bruixes de Llers Gibson Ian 1997 pp 496 97 512 Gibson Ian 1997 pp 64 67 83 84 Gibson Ian 1997 pp 113 14 Gibson Ian 1997 pp 287 89 Gibson Ian 1997 pp 320 25 Badcock James 1 September 2022 Salvador Dali wanted to enslave non white races and create new sadistic religion letter reveals The Telegraph via www telegraph co uk Gibson Ian 1997 pp 448 465 66 Gibson Ian 1997 pp 486 543 553 Gibson Ian 1997 pp 525 27 Gibson Ian 1997 pp 560 62 Gibson Ian 1997 p 587 Robert Descharnes Gilles Neret 1994 Salvador Dali 1904 1989 Benedikt Taschen p 166 ISBN 978 3 8228 0298 4 Dali dualist as ever in his approach was now claiming to be both an agnostic and a Roman Catholic McNeese Tim 2006 Salvador Dali Chelsea House p 102 ISBN 978 0 7910 8837 1 Gibson Ian 1997 p 525 Gibson Ian 1997 pp 71 74 166 232 280 81 Gibson Ian 1997 p 231 Gibson Ian 1997 p 534 Dali s surreal world of orgies and onanism Dirty Dali A Private View The Scotsman 4 June 2007 Archived from the original on 29 November 2020 Retrieved 21 November 2020 Sewell Brian 1 January 2007 The Dali I knew This is London Archived from the original on 7 July 2007 Gibson Ian 1997 pp 413 14 Gibson Ian 1997 p 569 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 Archived from the original on 8 April 2005 Retrieved 22 August 2010 Gibson Ian 1997 p 479 The Surreal World of Salvador Dali Archived 3 March 2007 at the Wayback Machine Smithsonian Magazine 2005 Retrieved 31 August 2006 Retired cruise ship now asbestos battleground NBC News Retrieved 7 May 2022 Salvador Dali 1904 1989 Mysteries of the Surreal Questionable Art Thieves and Outrageous Claims Archived 1 March 2020 at the Wayback Machine artexpertswebsite com Retrieved on 18 July 2019 Cite https www imdb com title tt1529195 Archived 31 December 2021 at the Wayback Machine on which he created a work of art out of his own name Mike Wallace Interviews Salvador Dali The Mike Wallace Interview Archived from the original on 3 December 2013 Retrieved 5 April 2020 Dali on Whats my Line retronaut co Archived from the original on 2 June 2012 Retrieved 14 February 2015 Frank Priscilla 29 April 2015 The Early Days Of Television Were Way More Avant Garde Than You Give Them Credit For Huffington Post Archived from the original on 4 September 2016 Retrieved 26 June 2017 Salvador Dali on the Dick Cavett Show Youtube YouTube Archived from the original on 28 January 2017 Retrieved 20 November 2017 Salvador Dali at Le Meurice Paris and St Regis in New York Archived 11 October 2007 at the Wayback Machine Andreas Augustin ehotelier com 2007 Salvador Dali Chocolat Lanvin on YouTube Namath A Biography Mark Kriegel p 290 La Reserva Nacional de Fauna Andina Eduardo Avaroa cumple 47 anos de creacion Servicio Nacional de Areas Protegidas 13 December 2020 Archived from the original on 10 December 2021 Retrieved 7 July 2021 Dali Gazetteer of Planetary Nomenclature NASA Archived from the original on 2 June 2011 Retrieved 30 June 2012 a b Bock Pauline 24 August 2018 Spanish hit series La Casa de Papel captures Europe s mood a decade after the crash New Statesman Archived from the original on 8 August 2019 Retrieved 11 August 2019 Ruiz de Elvira Alvaro 13 July 2018 Alex Pina Hay que hacer avances en la ficcion el espectador es cada vez mas experto El Pais in Spanish Archived from the original on 2 July 2019 Retrieved 10 August 2019 Eva Leira y Yolanda Serrano buscan el alma del actor para sus series 20 Minutos 20 Minutos Editora S L 4 February 2019 Archived from the original on 6 March 2021 Retrieved 15 July 2021 Marcos Natalia 29 March 2018 Por que La casa de papel ha sido un inesperado exito internacional El Pais in Spanish Archived from the original on 2 July 2019 Retrieved 18 August 2019 Dali Museu Berardo en museuberardo pt Archived from the original on 27 May 2017 Retrieved 26 June 2017 Salvador Dali www academieroyale be Archived from the original on 23 October 2017 Retrieved 26 June 2017 Academiciens depuis 1795 Academy des Beaux Arts Archived from the original on 6 August 2020 Retrieved 5 April 2020 Darnton John 19 April 1983 Major Retrospective Honors Dali in Spain The New York Times Archived from the original on 23 October 2017 Retrieved 26 June 2017 Descharnes Robert and Neret Giles Dali Taschen 2001 2007Further readingImportant books by or about Salvador Dali readily available in English include Ades Dawn Salvador Dali Thames and Hudson 1995 2nd ed Dali Salvador Oui the paranoid critical revolution writings 1927 1933 edited by Robert Descharnes translated by Yvonne Shafir Boston Exact Change 1998 Dali Salvador The Secret Life of Salvador Dali New York Dover 1993 translated by Haakon M Chevalier first published 1942 Dali Salvador The Diary of a Genius London Hutchinson 1990 translated by Richard Howard first published 1964 Dali Salvador The Unspeakable Confessions of Salvador Dali London Quartet Books 1977 first published 1973 Descharnes Robert Salvador Dali translated by Eleanor R Morse New York Abradale Press 1993 Gibson Ian The Shameful Life of Salvador Dali London Faber and Faber 1997 Shanes Eric Salvador Dali Parkstone International 2014External linksSalvador Dali at Wikipedia s sister projects Media from Commons Quotations from Wikiquote Data from Wikidata Morley Sarah 23 February 2022 Big Bold Botanicals State Library of NSW Salvador Dali on What s My Line Sound Salvador Dali UbuWeb Interview and bank advertisement Video Salvador Dali INA Archives A collection of interviews and footage of Dali in the French television Mike Wallace interviews Salvador Dali Archived 15 December 2015 Harry Ransom Center the University of Texas at Austin Panorama Salvador Dali Malcolm Muggeridge BBC interview first transmitted 4 May 1955 Retrieved from https en wikipedia org w index php title Salvador Dali amp oldid 1132945650, wikipedia, wiki, book, books, library,

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