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El Salvador Domingo Felipe Jacinto Dalí Domènech , known under the name of El Salvador Dalí , (May 11th 1904 - January 23rd, 1989) was a painter Surréaliste. It was born and died in Figueres in Catalogne (Spain) besides where it created its clean Musée in 1974, the Teatre-Museu Gala El Salvador Dalí.

Biography

The area of its childhood, the Catalonia, will always have a place privileged in its work as in its life. Dali was born on May 11th, 1904. His/her father Gift Salvador Dali there Cusi, was a man authoritative and responsible for would have been died of the older brother of Dalí called El Salvador, born on May 11th, 1901 and deceased two years later.

At seven years, it paints its first painting and wants to be Napoleon. In 1922, after a vat obtained easily, Dalí between at the School of the Art schools de San Fernando, with Madrid. It binds friendship with Federico García Lorca and Luis Buñuel but teaching disappoints it and it is made expel to have encouraged the students to express against the incompetence of a new professor. In 1926, it goes on a first journey to Paris and meets Pablo Picasso there. Three years later, it turns over in the French capital, in company of Buñuel, for the turning of a Andalusian dog . It is the decisive meeting with the surrealist : Tristan Tzara, Louis Aragon, André Breton, Paul Éluard… and his wife, Official reception. The appearance of this one is a revelation: he dreamed it and painted before knowing it; they will not be left any more.

In 1932, Dalí takes part in the first surrealist exposure to the the United States and obtains a triumphal success. It accumulates the ideas and Gala tries to sell its inventions often considered to be too insane. It is the beginning of the paranoiac-critical method which wants crétiniser the world, as Alfred Jarry wanted the décerveler. To the accounts of dreams and the automatic writing of surrealist, Dalí adds the irrational object to operation symbolic system. However, at the conclusion of a memorable meeting, it is made exclude from the movement by André Breton which reproaches him its acts counter-revolutionaries . Of 1939 with 1948, it is exiled with New York and its fabrics testify to its discoveries of the new continent ( Poésie of America , for example).

“to penetrate in reality, I have the brilliant intuition which I lay out of an extraordinary weapon: mysticism, i.e. major intuition of what is, the immediate communication with the whole, absolute vision by the grace of the truth, by the divine grace. ”

This profession of Mysticisme, Dalí will apply it until the end of its life to works that it remains to him to create. Gigantism reaches its last fabrics, grouillantes dionysiaques characters , where it joins together all the tendencies in - ism : Pointillisme, Surrealism, Tachism…

Dalí was also interested in good of other arts, and was fascinated in particular by the cinema, photography, the fashion or publicity. Moreover, it was impassioned by sciences, in particular by the Theory of relativity of Albert Einstein which it represented with his way in the famous “soft watches” of his table Persistance of the memory .

According to the Lacroix couple, in 1980, El Salvador Dalí would have seems it be victim of a nervous breakdown and its close relations will begin with régenter the visits which the Master receives.

Official reception dies in 1982 ; the same year, Dalí is made Marquis of Pubol where he saw in the castle that he offered to his wife. In May 1983, it paints its last painting, the dovetail . In 1984, it is very seriously burned at the time of the fire of its room, with the castle of Pubol. He dies on January 23rd, 1989 of a heart failure. In accordance with its will, it will be made embaumer then expose in its " Teatre-Museu" , where it rests from now on. A simple stone indicates the place of its burial. By will, it bequeaths the whole of its goods and its work at the Spanish State.

Its work

Dalí and the world of publicity

Dalí did not hesitate to be immersed in the popular culture through the publicity, for which it created covers of American magazines like The American Weekly , Vogue , Town & Country , of the small pockets of discs, and worked for sticking the Bryans Hosiery , the bottle Perrier , for Alka Seltzer , Datsun , and especially it played in the unforgettable spot with humor shifted “ I am insane! chocolate Lanvin ”.

In the other direction, it used publicity in its works, all in there integral the winks to the psychoanalysis, or work on relativity, for example: interpretative Project for an office cattle shed , baby Perverse polymorphic of Freud , Apparatus and the hand , the Madonna of Raphaël at the maximum speed . It also used and diverted the techniques manipulatoires of publicity to carry out its self-promotion in the satirical newspaper Dalí News .

Dalí and the cinema world

The childhood of Dalí proceeded at the time of the golden age of the silent film. It meets Luis Buñuel with the residence of the students with Madrid - it makes of it the subject of one of its first tables. This friendship leads to a collaboration which opens the way with the Surréalisme. In complicity with him, it takes part in the writing of two films emblematic of the surrealist cinema: a Andalusian dog in 1929, a sixteen minutes short-measuring in which follow one another, after a brutal image of introduction (undoubtedly intended for better marking the scission between real-world and surrealist world), various oneiric scenes only equipped with the logic of the dream, and the Golden age in 1930, a one hour old film, judged at the time insolate, the film was interdict until in 1981.

The Cinema and Hollywood also inspired it:

In table Shirley Temple, the youngest monster, more crowned cinema of its time (1939), in siren devouring its victims.
elements of the face of Mae West, used for the decoration of an apartment cosy where one notices the Mae West Lips Sofa , red sofa inspired of the lips of the artist.
It paints also Jack Warner.

Dalí thus took part in the realization of several films:

In 1941, it writes a first scene of dream for the film " Moontide " of Fritz Lang. The scene will not be turned because of the events following the Japanese attack against Pearl Harbor, archie Mayo carried out film but without the scene imagined by Dalí.
In 1941 still, it started to realize for Walt Disney, in collaboration with John Hench, a six minute old cartoon, called Destino . Five years after, 15 seconds only had been carried out. In fact, work was at the time decree at the end of a few months by the studios under pretext which the imagination of Dalí was too daring. However Dalí and Disney appreciated themselves much and Dalí had called Disney, the “large surrealist American”. The project was finally taken again and finished that in 2002 and this seven minute old cartoon are a monument of pure imagination. In fact all the ingredients of this film are present in its table Melancholy, Atomic Uranic Idyll gone back to 1945.
It also wrote a scenario for the Marx Brothers, entitled “ Giraffes one Horseback Salad ”. The film will never be carried out, but there remain the drafts about it.
in 1945, for film of Alfred Hitchcock, the House of Doctor Edwardes , it carried out the decoration of the scene of the dream (spellbound). In this scene, Gregory Peck, psychanalized by Ingrid Bergman sees a curtain of open large eyes - taken up idea of the film a Andalusian dog - and scissors enormous which cut out eyelid and retina. One sees there also a hood of penitent, a snow-covered slope, a soft wheel, charts to be played white and giant wings prosecutors of small characters. Two other sequences were not retained: the first, fifteen enormous grand pianos fixed on the ceiling of the ballroom being balanced with the top of silhouettes out of paperboard placed in decreasing order, the second, the actress Ingrid Bergman being transformed into statue. Dalí declared: Hitchcock is one of the rare characters whom I recently met to have a certain mystery.

Dalí produced itself some films:

of short surrealist experimental films where it is put in scene:
during the Years 1950, carried out by Robert Descharnes " The extraordinary adventure of the lacemaker and the rhinocéros" , association of images and objects by the curve logarithmic curve and the golden section.
in 1979, carried out by Jose Assemble Baquer " Travel into High Mongolie" . In this film, El Salvador Dalí tells the history of missing people of which it found the trace during a voyage into High Mongolia. In fact, the history is completely invented. It has suffices for Dalí to deposit a little its urine on the ring a pen, to wait until corrosion acts, to film the effects of them remotely almost microscopic, the decorated whole of a comment of “historian”.

The reports/ratios of Dalí with the cinema were the object into 2004 of a documentary film entitled Cinéma Dalí . Since June 2007 and until in September 2007, the Tate Modern in London proposes a retrospective of its work in connection with the cinema world.

Dalí and the theater world

Dalí also took part in several projects related to the theater:

in 1927, it collaborates with Federico García Lorca for the part Marina Pineda ;
he was the author of the booklet of Bacchanale , inspired of the Tannhäuser of Richard Wagner

Dalí and the world of the mode

Within the framework of the part Orgy , it collaborated with Coco Chanel to draw the costumes and the decorations;
In the Years 1930, it took part in the creation of some models of hat including one famous in the shape of shoe, and with the dressmaker Elsa Schiaparelli, it created the dress “lobster”;
in 1950, with Christian Dior, it imagined the famous Costume of the year 1945 with drawers.
In 1972, whereas Elvis Presley visits him, Dalí is fascinated so much by its shirt " country" with embroidered reasons and mother-of-pearl buttons which the singer it offers to him. It carries it then to paint " Dalí with the shirt of Elvis ". The Master will tell with the Lacroix couple: “ When Elvis Presley came to meet me in my workshop it immediately noticed that I was fascinated by his shirt country. At the time of leaving he said to me: “You like my shirt?” Yes. Much. Without a word it has demolishes the buttons and set out again barechested. Since I never leave it to paint. ”
Dalí & the Fashion: Since the end of 2006, the Espace Dalí decided, to perpetuate this relation between Dalí and the world of the Mode, to require of the most prestigious names of the French and international Haute couture to imagine a “dress-homage” to the Master. The result? Surprising, magic, surrealist creations signed Paco Rabanne, Sonia Rykiel, Loris Azzaro, Hanae Mori, Moschino, Paul Smith, Trussardi…

Dalí, design and fashion

Dalí, throughout its life and of its work, maintained long and intense relation with the polymorphic world of the mode. In its permanent desire to materialize the unbounded creative capacity which made conspicuous it, it explored the creative registers most heterogeneous of the sector of the mode, by leaving in each one of them its particular trademark.

Among inventions dalíniennes in field of what we could call “the virtual fashion” - since its models in the form of writings and of drawings, were not carried out - we can citer :

dresses, with false guides and factitious faggots of anatomies, intended to excite erotic imagination, as Dalí itself commented on it in Vogue: “ All the women with false centres in the back - inserted exactly into the place of the scapulas - will enjoy a winged aspect. ”
make-up at the level them hollow cheeks to eliminate the shades under the eyes.
the particularly recommended kaleidoscopic glasses conveys some during the tedious voyages.
false nails made up of mini mirrors in which one can contemplate oneself, especially adapted to accompany the costumes by the evening.
musical shoes of spring to brighten the walks.

But Dalí was not limited to imagine “virtual” sketches of mode, it also collaborated in the realization of “real” drawings comme :

dresses that Edward James required of him to create for his/her friend the actress Ruth Ford and who were carried out by Elsa Schiaparelli, the Italian dressmaker of Haute couture installed in Paris, with which it collaborated throughout the Années 1980 for the reasons for fabrics and for the drawings of decoration of its dresses and hats, among them, “hat-shoe celebrates it” which forms already part of imaginary the surrealist one.
models for the representations on scene: of its first sketches with the realization of the costumes of the model Mariana Pineda to its drawings for many ballets and works of theater, in which took part among most known, the models which his/her Coco Chanel friend had created for “Orgy”, first ballet “paranoiac-kinétique”.
the female bathing suits which compress the centres completely, to camouflage the bust and to thus give an aspect angelica.
smoking aphrodisiac covered with liquor glasses filled with peppermint struck.
ties that Georges McCurrach required of him to draw with the emblematic iconographic reasons Dalíniens: lips stuck to a telephone-lobster, ants pullulating on the soft watches…
capillary design of its metamorphic moustache-antennas.
bottles of Dalíniens perfumes, of “Rock'n'roll” drawn by Mrs Mafalda Davis - a “toilet water” for man who was sold expensive than Dior - to her last perfume whose bottle took as a starting point “the appearance of the face of Aphrodite de Cnide in a landscape. ”, while passing by “Shocking”, the pink perfume of Schiaparelli of which it carried out publicity.

Fantastic jewels that Official reception, large admiror of the mythical jeweller Fabergé, invited it to draw starting from its own iconographies.

publicity for the companies of American mode--as advertizing campaign for low Bryans celebrates it which Vogue published.
disguises for the dances of Lent, by beginning with the polemic on the behavior of Official reception in “the oneiric dance” realized in its honor by Caresse Crosby in the Red Coq of New York, to the inordinately long Venetian dresses for the ball of the Carnival in Palazo Beistegui, that Christian Dior realized starting from a drawing of Dalí.

But the dandy who was Dalí - it succeeds in being made elect most elegant Homme in France - did not limit itself to design models for its wives with the prominent hips - the women coccyx - and beardless on the level of the armpits - as the Scandinavian ones of the type of Greta Garbo - on the contrary, within the framework of its novel " Hidden Faces" , it designed a designers house for the cars with the aerodynamic lines: very formal evening dresses with enormous folded back collars, very elegant toilets of the evening to the deep low necklines emphasizing the radiators between froufrous of organdi and broad band of satin for the gala evenings! Hermine to paper the convertible hoods of convertible, with the handles of the doors in seal skin and sleeve of bison to cover the engine! Matérialisation of this Dalínien design automatically doubled the podiums of mode and the passage of the accessoirized cars increased the share of fantastic…

the Fabric Daligram

El Salvador Dalí creates the Daligram Fabric at the end of the Années 1960, starting from a case of Louis Vuitton. It reinterprets the monograms of the Vuitton House and declines its own line of objects monograms, the " Daligrammes" , for him and Official reception, but also to offer them to his/her friends and the collectors of its works.

Dalí, throughout its existence, felt an inexhaustible passion for graphics. One finds a delirious profusion of his graphic drawings as of his first drafts, in his books and school handbooks, until the Treaty of Writing Catastrophéiforme, a manuscript of twenty-nine calligraphiées pages, which he wrote in an impulsive way after death of Official reception. Already cloister in its Castle of Púbol, it passed by the letters which it invented to create a Dalínien alphabet whereas it was plunged in the middle of the way of its dantesque life. Screen of these traced discontinuous is result of writing enigmatic and ideographic, configured by astonishing steles of its clean person, anagrams of body erotogenic, marks seismographic of life secret, which introduce us into world of sumptuous cosmography where lines of painting, of drawing and of writing are mutually attracted and interlace in point invisible, whose blackness of the Indian ink spouts out an extraordinary constellation of letters which fly through the space of the white pages, out of any hope. As of the first glance, the sensual pleasure of the letter, their delicate violence, attracts us and invites us to enjoy, the closed eyes, of the forms euphoriant and lubricated by the virtual hand which slips feverishly like automatically thorough by évanescentes and fugacious impulses and which furtively dodges the commonplace repetition of the alphabetical stereotype. These Daligrammes orthographical of Artsmode Network S.A, specifically drawn by Dalí for the fine leather good, establish a bond striking with the monograms and penmanships of the legendary malletier Louis Vuitton, whose design of the bags, the secretary, the bags of voyage and all types of accessories combine the art of the voyage with art of living, of arts which within Dalínienne esthetics are transformed into a machine of war to the service of the desire, in its fight against the supremacy of the Principle of reality.

Dalí and science

Dalí was an avid reader of scientific literature which sought the company of the scientists, among which Nobel Prize, with which it could discuss as well quantum mechanics as of mathematics or genetics. Its fascination for science is found in its Article This aspect ignored of its personality was the object into 2004 of a documentary film entitled The Dali Dimension: In Genius' Lifelong Obsession with Science .

With returned friendship with the historian and scientific Alexandre Deulofeu, also ampourdanais like itself.

Disintegration of the persistence of the memory

Dalí, in the preamble to its Proclamation of the Antimatter (1958) explains why: “ During the surrealist period, I wanted to create the iconography of the interior world, the marvellous world of my father Freud and I arrived there. Starting from the Years 1950, the outside world - that of physics - transcended that of psychology. My father, today, is Doctor Heisenberg”, referring to the German researcher, specialized in the field of the quantum mechanics, which received the Nobel Prize in 1932. “Disintegration of the persistence of the memory”, born between 1952 and 1954 and which takes again “the persistence of the Memory” (1931), constitutes a emblematic work of this oneself-saying reconversion of the coordinates of psychoanalytical cosmogony in coordinates of the fourth dimension, modulated by the relativity of the space-time interaction within the equation space time: a new cosmogony generated by the scientific Revolution of the middle of last century.

Exploration freudienne of the persistence of the unconscious memory of the human subject, we pass to the vertiginous demolition structures of the matter carried out using the nuclear physics, where in this corpuscular space, the soft watches of oneiric imagination penetrate inside the microscopic particles. The paranoiac-critical method, télédirigée by the mystical nuclear power, gives us access to the new Dalínienne cosmogony, where we can admire the persistence of the memory in the process of disintegration and the matter of permanent process of dematerialization.

Dalí and the world of photography

Dalí showed also a real interest for the photography to which it gave an important place in its work. It harmonizes the decorations and the photographers as a painter works his fabric with his brushes. Dalí photographer is the revelation of a major and ignored part dalinienne creation. He worked with photographers like Man Ray, Brassaï, Cecil Beaton, Philippe Halsman. With this last it created the famous series Dalí Atomicus . It is without any doubt Robert Descharnes, his friend collaborator-photographer during 40 years, which made the most stereotypes of Dalí, the man and his work.

With the fashion photographer Marc Lacroix, Dalí posed, in 1970, for a series of portraits where it was put in scene, in delirious photographs: " Dalí with the crown of spider crab " , " Dalí with the shirt of Elvis Presley " , " Dalí with the flowered ear " , " Avida Dollars " , with the portrait of Dalí, above a sign of Banque de France, surrounded by tickets to its effigy, " Dalí in extase above a nest of sea urchins in the phallic swimming pool " , etc Always with Marc Lacroix, it will try an experiment of which it thinks since always: the painting in three dimensions, which will be concretized in table " Eight Pupils " , made using a apparatus-prototype with catch of stereoscopic sight: almost similar double images which observed simultaneously become, by the magic of the laws of optics, only one and even image with a depth.

One of the most outstanding images is that of the painter capped of a top hat on the sides of which it had the masks of Mona Lisa. According to Therese Lacroix it created it for its participation in a ball given by the Rothschild baroness. Only a half of the face of Dalí appears in the middle of the fixed enigmatic smiles

Dalí Sculptor

The wish of Dalí was to translate into volume and solid matter the fetishes and obsessions resulting from its unconscious. Thus it restored in the form of sculptures the broad topics of its pictorial work.

In the " Life secrète" , one of its autobiographical accounts, El Salvador Dalí tell that child, it made a modelling of Venus from Milo because it was reproduced on its box of pencil: it was its first test of sculpture.

As of the years 1930, Dalí is tested with the third dimension. As a surrealist artist trying to translate the unconscious one, the dreams, the feelings and in the line of Marcel Duchamp with his objet trouv3e (Fountain 1917), it is interested in art of “the using object” of materials and the unexpected matters.

It creates objects with operation symbolic system like the Retrospective Bust of Woman by assembling a craze of porcelain modiste painted with different other objects from recovery (1933). The surrealist object is not practical, it is not used for nothing separately to tenderize the men, to exhaust them, abêtir them. The surrealist object is made only for the honor, it does not have an other goal only the honor of the thought.

Gradually, Dalí returns to a traditional technique. It starts with a soft wax paste on which it imposes the form that it wants by concretizing the irrationality of its imagination. Then, it gives hardness necessary to its creation by running it out of bronze so that it can take seat in the outside world. These sculptures are carried out according to the technique called to the wax perdue*. They represent a significant aspect of the artistic creation of Dalí and provide a synthesis of its interest for the form. These bronze sculptures are indeed surrealism in the third dimension.

Conceived by Dalí and realized starting from its more famous tables, the bronze sculptures, such as the Persistence of the Memory, the Profile of Time, the Nobility of Time, Venus to the giraffe, the Toreador hallucinogen, space Venus, Alice with the country of the Wonders, the space Elephant testify with an extreme strength to the force to expression to its surreal iconographic images.

Technical of the cast iron to lost wax:

This technique makes it possible to manufacture objects out of metal starting from a wax model. The wax is covered with a refractory mixture to form a mould. The mould is subjected to a source of heat to dissolve wax. This operation is called the décirage. When the mould is empty, it is filled with molten metal. Later, the bivalvular mould is open to update the rough object of foundry. Finishing operations are then carried out to bring the beautiful aspect to the object: trimming, réparure, chiselling and patina.

the Espace Dalí presents the collection including/understanding more than one about fifteen original sculptures conferring on this exposure its statute of more important collection in France.

Dalí and architecture

In 1939, for the World Fair, it created the house Dream off Come . It was not about a surrealist open attraction, with inter alia, a Venus embanked by the fever of the love on a red satin bed, sirens and Girafe S. Of this house, it does not remain about it any more but the memory, forty photographs of Eric Schaal, a eight minute old film, and the sumptuous quadriptyque one with the soft watches, preserved at the Japan.

The painter made surrealism an art of living. With Port Lligat, it decorated its house with its manner, " as a prince of the kitsch, the irony and derision ". Its library is voluntarily inaccessible, with lines of pounds installed with highest of the wall, so that no one cannot reach them. In the axis of the phallic swimming pool, a temple with a large altar stone, where it shelters sun and receives his friends. The bottom of its swimming pool, with the phallic form, is papered sea urchins; it is about a ordering of the Master to the sculptor César who carried out a polyester casting for " to go on the sea urchins as Christ went on water ". The patio with the shape of a silhouette of woman drawn from Angelica of Millet. The settee is made according to a moulding of the lips of Mae West. The wall of the bottom, called " wall Pirelli" is decorated with great publicities with tires.

Dalí and literature

Dalí wrote, during the war, a single novel Hidden Visages . It puts at it in scene the French aristocracy during this same war, and in particular passion in love with two characters, the duke of Grandsailles and Solange de Cléda. The latter is the illustration of what it even named him the " clédalisme" having for goal to close " the passion trilogy inaugurated by the Marquis de Sade" whose two elements are sadism and masochism. Dalí is also the author of texts which present its ideas, its design of painting and give very interesting biographical elements to include/understand the genesis of some of its tables. These texts which have it a long time difficult to find are currently republished under the following titles:

the secret life of El Salvador Dalí which gives the biographical elements most interesting in particular on its childhood, its relations problematic with his/her father and the conviction acquired as of the childhood which it was a genius.
Newspaper of a genius which covers the years 1952 to 1963.
Oui which exposes its theoretical designs in two large texts: the paranoiac-critical revolution which is undoubtedly one of its texts most important and scientific archangelism

El Salvador Dalí also illustrated Fantastic memories (1945), the House without windows , the labyrinth (1949) and the Limit (1951) of Maurice Sandoz, of which it made knowledge with New York at the beginning of the Années 1940.

Dalí and sexuality

In its book. Dalí and me , Catherine Millet reveals that the discussion thread of the work of Dalí is the sex: Onanisme, Scatological humor, Impotence, Abstinence, Voyeurism, would be the intimate secrecies of the painter.

Dalí was praised to be impotent, from where its propensity to paint soft objects. He would have known only one woman, Gala, the single one which cures it its phobia of the women that he a long time compared with mantes religious.

He often invited to his evenings Amanda Lear of which he liked himself, by espieglery or mischievousness, to make accept his interlocutors who it was a man. Then unknown, Amanda Lear included/understood all the party which it could draw, in the media, of this sulfurous reputation and autoproclama " egery of El Salvador Dali".

He particularly adored the women painted by Johannes Vermeer. In the museum which it designed in Figueres, Dali pays homage to the actress Mae West, sex-symbol of the inter-war period.

With final, Catherine Millet, wonders about the creative power and the image of oneself, and reveals that the phantasms of Dalí are primarily existential; therefore it would have made its own life a work of art, in order to release itself from any narcissism with an aim of existing in the glance of the others.

Its works

Salvador Dali painted 1648 fabrics. List nonexhaustive its works:

1927: the compromise of the desire
1929: lugubrious play
1929: the enigma of the desire: my mother, my mother, my mother - Portrait of Paul Éluard
1930: Operation symbolic system of an object scatologic
1931: the persistence of the memory .
Hallucination partial Six images of Lénine on a piano
1932: Meditation on the toothing-stone - " births of the pleasures liquides"
1934: geopolitical Child observing the birth of the new man - atavistic Vestiges after the rain - the weaning of the piece of furniture-food
1935: archaeological Reminiscence of the Millet Angelus
1936: soft Construction with boiled beans: Premonition of the civil war - Cannibalism in autumn - reduced Giraffes - the Telephone lobster
1937: the Metamorphosis of Narcisse - Swans reflecting of the elephants
1938: " The enigma without fin" - " appearance of a face "
1939: the Venus Dream, Shirley Temple, the youngest monster, more crowned of its time
1940: Market of slaves with the bust of disappearing Voltaire

1940: old age, adolescence, childhood

1941: Honey is softer than blood
1944: Dream caused by the flight of a bee around a apple-grenade one second before the awakening
1946: the Temptation of Saint Antoine
1948: Léda Atomica
1948 : the elephants
1949: the Madonna of Port Lligat
1949: the Surrealist House
1951: the Christ of Jean Saint of the Cross
1954: naked Dalí in contemplation in front of five regular bodies metamorphosed in corpuscles, in which Léda appears suddenly chromosomatized by the face of Official reception - the Colossus of Rhodes - Crucifixion - Jeune virgin autosodomized by her own chastity - Autoportrait in Mona LISA
1956: alive Still life
1959: Landscape with the Butterflies - Appearance of the face of Aphrodite
1965: the Station of Perpignan
1969: the Toreador hallucinated
1972 the Fabric Dalígram
a 12 meters made up Christ dentrite long with remains left on the beach after a terrible storm.

Symbolic system of Dalí

Bread

Dalí, throughout its visit with the supermarket, maintained a obsessive discussion with a salesman on the bread. Its currency came to him from the legendary expression: Bread, bread, always of the bread, only of the bread. Taking as a starting point the liturgical ritual by the Christian communion, thanks to which it body and the blood of Christ is transformed into bread eucharistic, in the devoted host that the priest offers to faithful during the sacrifice of the Mass; the thinking machine Dalínienne, is always driven with the desire to materialize of the ideas and of imaginations with character delirious, it carried out the transmutation of the bread like the key of operation symbolic system of its esthetics, by making it become the Great Metaphor of the process of metaphorisation which constitutes its paranoiac-critical universe. So in our culture gastronomical concept of bread connotes all that is used in general for food daily (“our bread of each day”) and that its image is traditionally related to the constellation of the imaginary collective in relation to the network of significances which return to “nutrition”, “subsistence”, “utility”; contrary, Dalí invented the Company of the Bread with which, using its poetic provocations, after one is delirious total, he proposed the subversion plastic-symbolic system of this edible Petri of flour and water and gilded object to the furnace with wood. Dalí summarizes the program " pain" that it had Petri with his hands: “This so good thing with the taste which I eat the raw paste! " . All in all, Dalí wanted to project the bread of its window so that everyone can taste its exquisite savor! --this bread aristocrat, esthetics, paranoiac, sophisticated, jesuitic, phenomenal, paralyzing!!!

Keys

The key is an object of utility symbolic system which often appears in various mythologies. In Dalínienne mythology, there is a big game around the keys which invites us to reach the secret rooms of its singular universe and to explore the treasures which hide there. The naps of Dalí with the key are legendary and point out those which the monks of Toledo did. It put a plate on the ground, sat down on a chair, in the most inquisitorial manner which is, with a handle wrench. While he slept, the key fell into the plate and, automatically, he awoke whereas he always had in the eyes the enigmatic visions of the dreams of his refreshing sleep. Like this key of the naps tolédiennes, the keys of the Dalínienne iconography enable us to open the doors of the labyrinth in the center of which one finds the keys secret which give access to its Imaginary Kingdom where, from here with eternity, it invites us to decipher a delirious enigma and without end.

Ants

Dalí was large impassioned flies which he par excellence regarded as the paranoiac-critical insect, however he expressed an atavistic aversion for the ants. When it was small, it saw an ant devouring a lizard in state of decomposition. Later, already teenager, in his rites of sublimation of the anguish and the exorcism of death, it was accustomed to going so far as to look at a case full with ants enlightened by phosphorescent drops in order to entreat disastrous Destin. Thus, its insects, emblem of Cérès, remained associated with the image with dead and therefore the appearance of the ants throughout its work transmitted a lugubrious connotation. Dalí, always ambivalent, incorporated in its universe compulsive eater the beautiful one which exaltait it but as the disaster which horrified it and it Dalínisa as well its fears as its phobias, feelings which were, for him, inextricably dependant. For him, the loathing is a sentinel which remains very close to our deeper desires. For proof, a procession the tiny ones and frantic ants traverses all its work, pullulating through this seizing, extravagant and singular paranoiac-critical Camembert cheese which is space Dalínien time.

Sea urchin of sea

For Dalí, the sea urchin of sea (with its hemisphere, protected by a limestone skeleton, formed by polygonal plates and covered of articulated spines, with the mouth in the middle of the lower face and the back train in the upper part) it is a perfect microcosm modelled with the image of the decahedron. For him, as for through the agitated water of the sea, he admired the anesthetic and quiet rate/rhythm sea urchins; in the paroxysm of its vision, he imagined them like the representation even of the Universe. In its daily life, Dalí lived surrounded by skeletons of sea urchin, all with their pretty and delicate armor with flower of “goose flesh”, located on the racks of the white walls of its residential labyrinth of Lligat Port where it took refuge with Gala far from the society life. At the time of its banquets, the sea urchins did not miss either. Initially, he regarded them as adrenalin the most adapted to start one systematically is delirious; in addition, in various cultures, they symbolize the vital force and the basic principle.

Piano

When Dalí was small, the grand piano was an musical instrument reserved to the middle-class men. Also, in its desire to imitate the circles of distinguished aristocrats, it laid out it in its manors with the sight of all like a symbol emblematic of its membership with a middle-class and specific design of the “High Culture”. For the Dalí young person, this honourable musical instrument connoted the putrefaction which emanated from the vine shoot which for him represented “declining Art” put at the service of the repressive Order Cultural of a company reactionary that he wanted, in its subversive desire, at the same time to test and éradiquer. It is from there that will specify themselves at Dalí of strong sadistic impulses for the grand piano. Thus, for example, the lids of its grand pianos appear decorated with asses equipped with enormous jaws in state of decomposition; or many atmospheric death's-heads sodomites with broad bones and empty and disproportionate orbits wildly violating the pianos by the keyboard; or of the emergent interior of the fountains nécrophiles whose streams a lethal liquid; or of its bluish and brilliant keys appear sudden a decreasing series of small phosphorescent yellow circles framing the face of Lénine.

Elephant

The elephant is the terrestrial animal largest which exists nowadays. In the tradition Hindu, the elephants, being given their éléphantesques lower ends, are the caryatids of the universe. This mythical animal, symbol of the disproportionate force and the mounting of the kings, has paradoxically, in the universe of Dalí, of the extremely long legs and travels to trot, with a constant and convulsive undulation, transporting an obelisk on the back with the papal emblems, like the elephants of Bernini; while they cherish using their horns the such elephants of Montaigne. In the field of the fantastic zoology Dalínienne, these thin elephants, low registers and at the same time, with the thread-like legs, are the result of a surrealist zoosynthèse whose chimerical anatomy combines in various species of animals: pachyderms to Arachnida, while passing by the birds flies. All in all, a particularly suitable fabulous animal so that one can go up on his back and venture to traverse with large stilts, surrealist landscapes of the Dalínienne geography.

Carolineta

Carolineta was the tender diminutive familiar of a aunt-cousin distant from Dalí which died of one meningitis at the 24 years age. Dalí, 10 years its junior, continued to remember this soft woman vêtue of white which always jumped to the cord, that it saw appearing, when it was small, one day shone upon on the magic beach of Pinks. And this infantile memory engraved in its memory, it recreated it, in an obsessional way, through a series of images of spiritual predictions in which the presentiment of this fantasmatic appearance is propagated like a morphological echo for which the gracious silhouette of Carolineta, is duplicated constantly, are metamorphosed and is melted in a bell, whose inaudible tinkling announces the alarm clock of Carolineta of its disastrous sleep and the exact moment of its eternal recurrence.

Others

Avida Dollars

The artists and the intellectuals avant-gardists of the twentieth century, including Marxist, always dissimulated their close links with the capitalist market of art and the literature. On the other hand, Dalí, which adored outward journey with counter-current, always made display of its passion for the money. And thus, when André Breton, the father of the Surrealism, wanted to disparage it by characterizing it of “ avida dollars ”, nickname resulting from the anagrammatic transposition of the letters “ El Salvador Dalí ”, this one accepted responsibility for this nickname, with an aim of causing, and converts it into one of its most significant symbols, in such way that it is part from now on of its “ caption dorée ”.

In counterpart with André Breton, Dalí retorted that its prudence advised to him in its adolescence to slightly become as much as possible “ multimillionnaire ”. Later, reconsidering this business, he says “ It was André Breton, to prick with sharp my attraction for the gold, which invented this anagram… He thus believed to put at the pilori my admirable name, but he did not do anything of other but to compose a talisman… America accommodated me like the child prodigy and covered me with dollars… Gold illuminates me and the bankers are the supreme priests of the Dalínienne religion. ”

If the major part of the mortals works to earn money, Dalí wanted to earn money to be able to work its Article For that, it decided to be surrounded by a troop of princes and multimillionnaires which, by disputing its works, made assemble its dimension in an unimaginable way, and since then, it did not cease raining on Dalí a kind of divine rain of Dánae in the form of inexhaustible diarrhea of dollars which enabled him to do that of which it wanted. In this way, with this apotheosis dalínienne of the dollar, he wanted to imitate the old desire alchemist to transform a cheap matter into gold. However, even if André Breton were right, Dalí had felt before all the advent of the mass culture, and had known, as a virtuoso, being one of the first to benefit from it.

Anecdotes

It was requested from Dalí to carry out a work on a window of a New Yorkean store in order to launch a new mark of perfume called " Fracas". The day of launching, Dalí had still not carried out required work. On its arrival, it launched a paving stone in the window of the store.

One day, in Paris, whereas he lived the Meurice Hotel, street of Rivoli, he convened the press. In its continuation were prepared paper bags containing of liquid paintings. Dalí, solemnly, opened the French window, advanced on the balcony and threw the bags of painting on the cars in parking: painting “Explosion” had just been born.

In 1955, Dali agrees to give a conference to the Sorbonne. He creates the event while arriving in yellow and black Rolls-Royce, filled with cauliflowers which he distributes as autographs!

On the end of its life, it distributed to its visitors of the signed white sheets of its name, in their saying: " Hold, thus made of Dalí and enrich you! "

(Anecdotes drawn partly from the book " My friend Dalí" of Pierre Cardin)

Dixit

In foreword with the Newspaper of a genius , Michel Déon summarizes the originality of the painter:

“(...) what is most pleasant, in Dalí, they are its roots and its antennas. Roots plunged deeply under ground where they go in the search of all that the man could produce of succulent (according to one of its three favorite words) in forty centuries of painting, architecture and sculpture. Antennas directed towards the future that they hument, envisage and include/understand with one striking down speed. It will be never rather known as that Dalí is a spirit of an insatiable curiosity. ”

Jean Dutourd, of the French Academy wrote:

“ El Salvador Dalí, which was very intelligent, had included/understood several things which, generally escape the artists, the first being that the talent (or genius) is a fairground stall. To attract the customers, bonimenter is needed, to have the well hung language, to make tomfooleries and capers on a estrade. It is in what Dalí, as of its beginnings, excelled. He considered that he was the great painter of the 20th century, i.e. a traditional artist having had the bad luck to fall into a low time from his Article Trissotin from Western intelligentsia and the middle-class men with their continuation made the law, i.e. the opinion.

There are two ways of reconciling these people-there, on which the reputations depend; first is to be as serious as they, also imbu of its dignity. They recognize a member of the tribe at once and can show him. The disadvantage is that to make a success of such an attitude it is necessary to be oneself a little an imbecile, (...) It remained to him only the other exit who is the provocation, i.e. extravagances and the unforeseen one in thought as much as in words, brutal sincerity, the taste of the joke, the iconoclastie with regard to all that is with the mode and of this fact is untouchable. ”

The historian of art Michael Peppiatt writes in this connection:

“ Dalí passed from the brightness subversive of its youth to a growing vacuity and a remunerative exhibitionnism. ”

Andrew Strauss, expert specialist in surrealism at Sotheby' S, points out:

“ Dalí worked with the construction of its popularity on a worldwide scale. It preceded Andy Warhol in this strategy by the worship of the artist star. ”

Therese Lacroix, the wife and collaborator of Marc Lacroix which during ten years will visit to many recovery in Dalí and Gala, observed:

“ It was impressive by its glance and its wearing of head. It was proud but amusing, was not caught with the serious one. ”

Some opinions of Dalí

“ Le Corbusier is masochist and Protestant the inventor of the architecture of self-punishment ”.
“ of all the pupils of Gustave Moreau, best is that which teaches them ”.
Picasso is responsible for the “ ugliness generalized of the contemporary art ”.
Matisse is a “ painter of algae very right to support middle-class digestion good ”.

Work

Yes. The paranoiac-critical revolution, scientific archangelism , El Salvador Dalí, Editions Denoël, 2004, ISBN 2-207-25621-9
secret Life of El Salvador Dalí. Am I a genius? , critical Edition established by Frederique Joseph-Lowery starting from the manuscripts of Official reception and El Salvador Dalí, ED. The Age of man, October 2006. Preface Spector Jack.
the secret Life of El Salvador Dalí writes by El Salvador Dalí at the age of twenty-nine years, Gallimard, 2002 ISBN 2-07076-374-9
the Cuckolds of viel modern art of El Salvador Dalí - ED. Grasset, collection “Red Books” - 116 Thought pages
and anecdotes , El Salvador Dalí, Seek-Midday Editor, 2004,

Random links:

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