The fantasies and symbols of Salvador Dalí's Surrealist visions
"Every morning when I awake," said the painter of Soft Watches (later retitled The Persistence of Memory), "the greatest of joys is mine: that of being Salvador Dalí..."
The native Catalonian Dalí was obsessed with both money and fame; painting and speaking were his main occupations, his favourite subject - how to discover one's genius. Not exactly loved by the Surrealists, who criticised him for extravagance and his addiction to money (it was André Breton who came up with the anagramm "Avida Dollars"), Dalí's paranoiac-critical method nonetheless provided them with a first-rate instrument to liberate intelligence and imagination from the bonds of memory and dreams.
Had he been born during the Renaissance, his genius would have met with greater acceptance than was the case in our era, which saw him as a constant source of provocation; he, for his part, described the era as 'degenerate'. Dalí commented: "The only difference between me and a madman is the fact that I am not mad", remarking pithily that "The difference between me and the Surrealists is that I am a Surrealist."
Dalí decodes the fantasies and symbols of his Surrealist visions, penetrating the depths of the irrational and subconscious, elevating hard and soft to the level of aesthetic principles. He and Gala, his wife and muse, are mythical couple, she his "existential double", his "perpetuation in immortal memory". At the age of three, Dalí had wanted to become a cook, aged five Napoleon. Thereafter, he continually aspired to something higher - to be divine Dalí forever...
The Dalí portfolio features high quality prints that beg to be framed. Tucked in the portfolio are 14 large-format reproductions, each with a brief description.
Images included:
Apparatus and Hand, 1927
Fried Eggs on the Plate without the Plate, 1932
Still Life - Fast Moving, 1956
Apparition of the Visage of Aphrodite of Cnidos in a Landscape, 1981
Costume for "Tristan Insane" - The Ship, 1942/43
The Temptation of Saint Anthony, 1946
Leda atomica, 1949
Design for the set of the ballet "Tristan and Isolde", 1944
Dream Caused by the Flight of a Bee around a Pomegranate a Second before Awakening, 1944
The Disintegration of the Persistence of Memory, 1952-1954
The Hallucinogenic Toreador, 1968-1970
Archaeological Reminiscence of Millet's Angelus, 1935
Galatea of the Spheres, 1952
Memory of the Child-Woman, 1932
"Every morning when I awake," said the painter of Soft Watches (later retitled The Persistence of Memory), "the greatest of joys is mine: that of being Salvador Dalí..."
The native Catalonian Dalí was obsessed with both money and fame; painting and speaking were his main occupations, his favourite subject - how to discover one's genius. Not exactly loved by the Surrealists, who criticised him for extravagance and his addiction to money (it was André Breton who came up with the anagramm "Avida Dollars"), Dalí's paranoiac-critical method nonetheless provided them with a first-rate instrument to liberate intelligence and imagination from the bonds of memory and dreams.
Had he been born during the Renaissance, his genius would have met with greater acceptance than was the case in our era, which saw him as a constant source of provocation; he, for his part, described the era as 'degenerate'. Dalí commented: "The only difference between me and a madman is the fact that I am not mad", remarking pithily that "The difference between me and the Surrealists is that I am a Surrealist."
Dalí decodes the fantasies and symbols of his Surrealist visions, penetrating the depths of the irrational and subconscious, elevating hard and soft to the level of aesthetic principles. He and Gala, his wife and muse, are mythical couple, she his "existential double", his "perpetuation in immortal memory". At the age of three, Dalí had wanted to become a cook, aged five Napoleon. Thereafter, he continually aspired to something higher - to be divine Dalí forever...
The Dalí portfolio features high quality prints that beg to be framed. Tucked in the portfolio are 14 large-format reproductions, each with a brief description.
Images included:
Apparatus and Hand, 1927
Fried Eggs on the Plate without the Plate, 1932
Still Life - Fast Moving, 1956
Apparition of the Visage of Aphrodite of Cnidos in a Landscape, 1981
Costume for "Tristan Insane" - The Ship, 1942/43
The Temptation of Saint Anthony, 1946
Leda atomica, 1949
Design for the set of the ballet "Tristan and Isolde", 1944
Dream Caused by the Flight of a Bee around a Pomegranate a Second before Awakening, 1944
The Disintegration of the Persistence of Memory, 1952-1954
The Hallucinogenic Toreador, 1968-1970
Archaeological Reminiscence of Millet's Angelus, 1935
Galatea of the Spheres, 1952
Memory of the Child-Woman, 1932
