Content deleted Content added
Cottection Tags: Visual edit Mobile edit Mobile web edit Advanced mobile edit |
→Personality: precision |
||
(108 intermediate revisions by 62 users not shown) | |||
Line 1:
{{Short description|Spanish surrealist artist (1904–1989)}}
{{Redirect|Dalí|other uses|Salvador Dalí (disambiguation)|and|Dalí (disambiguation)}}
{{pp-semi-indef|small=yes}}
{{Use dmy dates|date=January 2024}}
{{Infobox artist
| honorific_suffix = [[Order of Isabella the Catholic|gcYC]]
| name =
| honorific_prefix = [[The Most Excellent]]<ref>Boletín Oficial del Estado, the official gazette of the Spanish government {{Cite web |url=http://www.boe.es/aeboe/consultas/bases_datos/doc.php?id=BOE-A-1989-4234 |title=Archived copy |access-date=31 July 2010 |archive-date=30 June 2012 |archive-url=https://archive.today/20120630120254/http://www.boe.es/aeboe/consultas/bases_datos/doc.php?id=BOE-A-1989-4234 |url-status=bot: unknown }}</ref>
| image = Salvador Dalí 1939.jpg
| caption = Dalí in 1939
| birth_name = Salvador Domingo Felipe Jacinto Dalí
| birth_date = {{birth date|1904|5|11|df=y}}
| birth_place = [[Figueres]],
| death_date = {{death date and age|1989|01|23|1904|05|11|df=y}}
| death_place = Figueres, Catalonia,
| resting_place = [[Crypt]] at [[Dalí Theatre and Museum]], Figueres
| field = Painting, drawing, photography, sculpture, writing, film, and jewelry
| training = [[Real Academia de Bellas Artes de San Fernando|San Fernando School of Fine Arts]],
| movement = [[Cubism]], [[Dada]], [[Surrealism]]
| works = {{plainlist|
Line 28:
* ''[[The Ecumenical Council (painting)|The Ecumenical Council]]'' (1960)
* ''[[The Hallucinogenic Toreador]]'' (1970)}}
| spouse = {{marriage|[[Gala Dalí]]|1934|1982|end=
| patrons =
| awards =
▲| signature = Salvador dali signature.svg}}
}}
'''Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol'''{{family name footnote|Dalí|Domènech|lang=Catalan}}{{efn|name=name|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 [[Castilianization|castilianized]] despite being born in Catalonia, as at the time [[History of Catalan#18th century to the present: Spain|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.}} {{Post-nominals|post-noms=[[Order of Isabella the Catholic|gcYC]]}} (11 May 1904{{spaced ndash}}23 January 1989), known as '''Salvador Dalí''' ({{IPAc-en|ˈ|d|ɑː|l|i|,_|d|ɑː|ˈ|l|iː}} {{respell|DAH|lee|,_|dah|LEE}}
Born in [[Figueres]]
Dalí's artistic repertoire included painting, sculpture, film, graphic arts,
There are two major museums devoted to Salvador Dalí's work: the [[Dalí Theatre and Museum|Dalí Theatre-Museum]] in [[Figueres]], Spain, and the [[Salvador Dalí Museum]] in [[St. Petersburg, Florida]], U.S.
== Biography ==
Line 50 ⟶ 49:
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."<ref name="Dalí, Secret Life, p.2">Dalí, Secret Life, p. 2</ref> He "was probably the first version of myself but conceived too much in the absolute".<ref name="Dalí, Secret Life, p.2"/> Images of his brother would reappear in his later works, including ''Portrait of My Dead Brother'' (1963).<ref>Gibson, Ian (1997). p. 23</ref>
Dalí also had a sister,
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.<ref>{{Cite book|url=https://books.google.com/books?id=C7zKauiqMG8C|title=El fútbol tiene música|last=Martín Otín|first=José Antonio|publisher=Córner|year=2011|isbn=978-84-15242-00-0|chapter=Un tanguito de arrabal|access-date=13 September 2020|archive-date=8 October 2021|archive-url=https://web.archive.org/web/20211008111944/https://books.google.com/books?id=C7zKauiqMG8C|url-status=live}}</ref>
Line 64 ⟶ 63:
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.<ref>Gibson, Ian (1997), pp. 92–98</ref> The friendship with Lorca had a strong element of mutual passion,<ref>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 (author)|Ian Gibson]].</ref> but Dalí said he rejected the poet's sexual advances.<ref name="conversations">Bosquet, Alain, ''[http://www.ubu.com/historical/dali/dali_conversations.pdf Conversations with Dalí] {{Webarchive|url=https://web.archive.org/web/20110728071536/http://www.ubu.com/historical/dali/dali_conversations.pdf |date=28 July 2011 }}'', 1969. pp. 19–20. (PDF)</ref> 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 faction (Spanish Civil War)|Nationalist]] forces in 1936 at the beginning of the [[Spanish Civil War]].<ref name="Gibson, Ian 1997, passim"/>
Also in 1922, he began what would become a lifelong relationship with the [[Museo del Prado|Prado Museum]], which he felt was, 'incontestably the best museum of old paintings in the world.'<ref>{{Cite web|url=https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/|title=Salvador Dalí and the Museo del Prado: A Prolonged Fascination | Fundació Gala
[[File:Man Ray Salvador Dali.jpg|thumb|left|Dalí (left) and fellow [[surrealism|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.<ref>[https://books.google.com/books?id=K0H3fYErskYC&dq=dali+Cubist+art%2C+students%2C+a+catalog+given+to+him+by+Pichot&pg=PA24 Michael Elsohn Ross, ''Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities''] {{Webarchive|url=https://web.archive.org/web/20200806230719/https://books.google.fr/books?id=K0H3fYErskYC&lpg=PA24&ots=-ktQ5sQaeb&dq=dali%20Cubist%20art%2C%20students%2C%20a%20catalog%20given%20to%20him%20by%20Pichot&pg=PA24#v=onepage&q=dali%20Cubist%20art,%20students,%20a%20catalog%20given%20to%20him%20by%20Pichot&f=false |date=6 August 2020 }}, Chicago Review Press, 2003, p. 24. {{ISBN|1-61374-275-4}}</ref> ''[[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).<ref>Gibson, Ian (1997), pp. 97–98</ref> At this time, Dalí also read Freud and [[Comte de Lautréamont|Lautréamont]] who were to have a profound influence on his work.<ref>Gibson, Ian (1997), pp. 116–119</ref>
Line 75 ⟶ 73:
Dalí left the Royal Academy in 1926, shortly before his final exams.<ref name="Meisler" /> His mastery of painting skills at that time was evidenced by his realistic ''[[The Basket of Bread]]'', painted in 1926.<ref>{{cite web |url=http://www.dali-gallery.com/html/galleries/painting05.htm |title=Paintings Gallery No. 5 |publisher=Dali-gallery.com |access-date=22 August 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100827234135/http://www.dali-gallery.com/html/galleries/painting05.htm |archive-date=27 August 2010 }}</ref>
Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic {{Interlanguage link|Sebastià Gasch|es}}.<ref name="Pàmies">[https://repositori.upf.edu/bitstream/handle/10230/22029/Andres_13.pdf?sequence=1 Elisenda Andrés Pàmies, ''Les Galeries Dalmau, un project de modernist a la Ciutat de Barcelona''] {{Webarchive|url=https://web.archive.org/web/20170809034049/https://repositori.upf.edu/bitstream/handle/10230/22029/Andres_13.pdf?sequence=1 |date=9 August 2017 }}, 2012–13, Facultat
[[File:DaliGreatMasturbator.jpg|thumb|300 px|''The Great Masturbator'' (1929); oil on canvas, 110 cm × 150 cm, [[Museo Nacional Centro de Arte Reina Sofía]]]]
Line 88 ⟶ 86:
=== 1929 to World War II ===
[[File:SalvadorDali-SoftConstructionWithBeans.jpg|thumb|300 px|''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 {{lang|fr|[[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.<ref>{{cite web |last=Koller |first=Michael |url=http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html |language=fr |title=Un Chien Andalou |archive-url=https://web.archive.org/web/20101225061923/http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html |archive-date=25 December 2010 |work=Senses of Cinema |date=January 2001 |access-date=26 July 2006}}</ref> In August 1929, Dalí met his lifelong muse and future wife [[Gala Dalí|Gala]],<ref name=unbound>Shelley, Landry. [http://www.tcnj.edu/~unbound/spring2005/articles/a2 "Dalí Wows Crowd in Philadelphia"] {{Webarchive|url=https://web.archive.org/web/20171108082607/http://www.tcnj.edu/~unbound/spring2005/articles/a2 |date=8 November 2017 }}. ''Unbound'' ([[The College of New Jersey]]) Spring 2005. Retrieved on 22 July 2006.</ref> born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet [[Paul Éluard]].<ref>Gibson, Ian (1997) pp. 218–20</ref>
Line 98 ⟶ 96:
In 1931, Dalí painted one of his most famous works, ''[[The Persistence of Memory]]'',<ref>[http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf Clocking in with Salvador Dalí: Salvador Dalí's Melting Watches] {{Webarchive|url=https://web.archive.org/web/20060921144258/http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf |date=21 September 2006 }} (PDF) from the Salvador Dalí Museum. Retrieved on 19 August 2006.</ref> 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.<ref name=Conquete>Salvador Dalí, {{lang|fr|La Conquête de l'irrationnel}} (Paris: Éditions surréalistes, 1935), p. 25.</ref>
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''.<ref>Gibson, Ian (1997) pp. 279–283, 299–300</ref> 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".<ref>Gibson, Ian (1997) pp. 314–15</ref> 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".<ref>Gibson, Ian (1997), p. 316</ref>
Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.<ref>Gibson, Ian (1997) p. 323</ref> They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell.<ref>Gibson, Ian (1997) p. 492</ref> 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,<ref>Gibson, Ian (1997) pp. 421–22, 508–10, 620–21</ref> 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.<ref name="Opera">{{cite web|last=Amengual|first=Margalida|title=An opera on the relationship between Salvador Dalí and Gala arrives at Barcelona's Liceu|url=http://www.catalannewsagency.com/culture/item/an-opera-on-the-relationship-between-salvador-dali-and-gala-arrives-at-barcelonas-liceu|work=Catalan News Agency (CNA)|publisher=Intracatalònia, SA|access-date=27 May 2012|date=14 December 2016|archive-date=20 December 2016|archive-url=https://web.archive.org/web/20161220175608/http://www.catalannewsagency.com/culture/item/an-opera-on-the-relationship-between-salvador-dali-and-gala-arrives-at-barcelonas-liceu|url-status=live}}</ref>
▲[[File:Man Ray Salvador Dali.jpg|thumb|left|Dalí (left) and fellow [[surrealism|surrealist]] artist [[Man Ray]] in Paris on 16 June 1934]]
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."<ref>Gibson, Ian (1997), pp. 336–41</ref> 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 [[Bruno Hauptmann|kidnapper]], a claim which Dalí denied.<ref>Gibson, Ian (1997), pp. 342–43</ref>
[[File:Portrait_of_Salvador_Dali,_Paris,_LOC_4483943847.jpg|thumb|
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".<ref>Greeley, Robin Adèle (2006). ''[https://books.google.com/books?id=2w1QddhP56wC Surrealism and the Spanish Civil War] {{Webarchive|url=https://web.archive.org/web/20160419062109/https://books.google.com/books?id=2w1QddhP56wC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=19 April 2016 }}'', Yale University Press. p. 81. {{ISBN|0-300-11295-5}}.</ref> Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism.<ref>{{Cite book|url=https://books.google.com/books?id=MORRDQAAQBAJ&pg=PT62|title=The Creative Underground : Art, Politics and Everyday Life|last=Clements|first=Paul|publisher=Taylor and Francis|year=2016|isbn=978-1-317-50128-2|access-date=11 September 2017|archive-date=6 February 2022|archive-url=https://web.archive.org/web/20220206234545/https://books.google.com/books?id=MORRDQAAQBAJ&pg=PT62|url-status=live}}</ref> Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group.<ref>Shanes, Eric (2012). ''[https://books.google.com/books?id=eDQqcrMy8M8C&pg=PA53 The Life and Masterworks of Salvador Dalí] {{Webarchive|url=https://web.archive.org/web/20200209185600/https://books.google.com/books?id=eDQqcrMy8M8C&pg=PA53 |date=9 February 2020 }}''. Parkstone. p. 53. {{ISBN|1-78042-879-0}}.</ref> To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist."<ref>[https://books.google.com/books?id=vYcGAAAAMAAJ Salvador Dalí, Louis Pauwels, ''Les passions Selon Dalí''] {{Webarchive|url=https://web.archive.org/web/20180917144729/https://books.google.es/books?id=vYcGAAAAMAAJ |date=17 September 2018 }}, Denoël, 1968</ref><ref>[https://books.google.com/books?id=ub6fAAAAMAAJ Pierre Ajame, ''La Double vie de Salvador Dalí: récit''] {{Webarchive|url=https://web.archive.org/web/20180917143252/https://books.google.es/books?id=ub6fAAAAMAAJ |date=17 September 2018 }}, Éditions Ramsay, 1984, p. 125</ref>
Line 115 ⟶ 114:
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.<ref>Gibson, Ian (1997) pp. 306–308</ref> 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 ''[[Metamorphosis of Narcissus|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]]''.<ref>{{cite web|url=https://nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607|title=Salvador Dalí Lobster Telephone|date=August 1994|website=National Gallery of Australia|access-date=23 June 2017|archive-date=19 March 2017|archive-url=https://web.archive.org/web/20170319005929/http://nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607|url-status=live}}</ref>
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 faction (Spanish Civil War)|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.<ref>Gibson, Ian (1997), pp. 361–63</ref> Nevertheless, Dalí avoided taking a public stand for or against the [[the Second Spanish Republic|Republic]] for the duration of the conflict.<ref name=":4">Gibson, Ian (1997) pp.
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.<ref>{{cite web|url=http://www.salvador-dali.org/dali/en_biografia.html|title=Salvador Dalí's Biography – Gala|work=salvador-dali.org|publisher=Salvador Dalí Foundation|url-status=dead|archive-url=https://web.archive.org/web/20061106020704/http://www.salvador-dali.org/dali/en_biografia.html|archive-date=6 November 2006|access-date=14 February 2015}}</ref><ref>{{Cite book|last1=Herbert|first1=James D.|url=https://archive.org/details/paris1937worldso00herb|title=Paris 1937|publisher=Cornell University Press|year=1998|isbn=978-0-8014-3494-5|page=[https://archive.org/details/paris1937worldso00herb/page/27 27]|access-date=14 February 2015|url-access=registration}}</ref><ref>{{Cite book|last1=Cohen-Solal|first1=Annie|url=https://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|title=Leo and His Circle|year=2010|publisher=Alfred A. Knopf |isbn=978-1-4000-4427-6|access-date=14 February 2015|archive-date=13 December 2013|archive-url=https://web.archive.org/web/20131213193246/http://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|url-status=live}}</ref>
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.<ref name="Meisler" /> 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'']."<ref name="Rubin (1968) ">Rubin, William S. 1968. ''Dada and Surrealist Art.'' Harry N. Abrams, Inc., Publishers, New York. 525 pp.</ref>
Line 123 ⟶ 122:
In September 1938, Salvador Dalí was invited by [[Coco Chanel|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.<ref>''Salvador Dalí Exhibition'', Exhibition Catalogue – 16 February through 15 May 2005</ref><ref>{{cite web |url=http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm |title=Salvador Dalí Exhibition |work=[[Philadelphia Museum of Art]] |archive-url=https://web.archive.org/web/20110707075359/http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm |archive-date=7 July 2011 |access-date=12 May 2014 |last=Fischer |first=John}}</ref> This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. [[Life (magazine)|Life]] reported that no exhibition in New York had been so popular since Whistler's ''Mother'' was shown in 1934.<ref>Gibson, Ian (1997) pp. 389–90</ref>
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.<ref name="DrmVns"/> 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."<ref>Gibson, Ian (1997), pp.
Soon after [[Francisco Franco|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 Española de las JONS|Falange]]. As a result, Buñuel broke off relations with Dalí.<ref name=":5">Gibson, Ian (1997), p. 395</ref>
Line 130 ⟶ 129:
=== 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.<ref>{{cite web |url=http://sousamendesfoundation.org/dali/ |title= Dalí |archive-url=https://web.archive.org/web/20131102223907/http://sousamendesfoundation.org/dali/ |archive-date=2 November 2013 |work=Sousa Mendes Foundation |date=20 June 1940 |access-date=12 May 2014}}</ref> Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the [[Monterey Peninsula]],
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.<ref>{{cite web |url=http://www.virginialiving.com/%C2%A1hola,-dal%C3%AD!/ |title=¡Hola, Dalí! |last1=Crowder |first1=Bland |date=31 January 2014 |website=[[Virginia Living]] |publisher=Cape Fear Publishing |access-date=27 June 2016 |archive-date=1 July 2016 |archive-url=https://web.archive.org/web/20160701234130/http://www.virginialiving.com/%C2%A1hola,-dal%C3%AD!/ |url-status=live }}</ref><ref>Gibson, Ian (1997), pp. 404–05</ref>
Line 136 ⟶ 135:
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.<ref>Gibson, Ian (1997) pp. 409–11</ref>
On
{{cite web |author=Neal Hotelling |date=26
The Museum of Modern Art held two major, simultaneous retrospectives of Dalí<ref name="Soby (1941)">Soby, James Thrall. 1941. ''Salvador Dali: Paintings, Drawings, Prints.'' The Museum of Modern Art, New York. 87 pp.</ref> and [[Joan Miró]]<ref name="Sweeney (1941)">Sweeney, James Johnson. 1941. ''Joan Miro.'' The Museum of Modern Art, New York. 87 pp.</ref> 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.<ref>Gibson, Ian (1997), pp. 413–16</ref>
Line 147 ⟶ 146:
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".<ref>Gibson, (Ian) (1997), pp. 434–36</ref>
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).<ref name=":1">Gibson, Ian (1997), pp. 431–43</ref> In 1945 he created the dream sequence for Alfred Hitchcock's film ''Spellbound''.<ref name=":2">Gibson, Ian (1997) pp.
=== Postwar in United States (1946–48) ===
Line 157 ⟶ 156:
=== Later years in Spain ===
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.<ref name="Meisler" /><ref name="GalaGSDF" /> 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.<ref>Gibson, Ian (1997) p. 470</ref> 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.<ref name="lopez">{{Interlanguage link multi|Ignacio Javier López|es|Ignacio Javier López}}. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. ''[[Modern Language Notes|MLN]]'' 116 (2001): 295–314.</ref> Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".<ref>Gibson, Ian (1997) pp.
[[File:Dali Allan Warren.jpg|thumb|left|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.<ref name="Meisler" /><ref name="GalaGSDF" /> 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.<ref>Gibson, Ian (1997) p. 470</ref> 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.<ref name="lopez">{{Interlanguage link multi|Ignacio Javier López|es|Ignacio Javier López}}. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. ''[[Modern Language Notes|MLN]]'' 116 (2001): 295–314.</ref> Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".<ref>Gibson, Ian (1997) pp. 497-98</ref>
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.<ref>Gibson, Ian (1997), pp. 454–61</ref>
Line 164 ⟶ 162:
[[File:The_Hallucinogenic_Toreador.png|thumb|300 px|''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.<ref>Gibson, Ian (1997) pp. 450–53</ref> This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism," a fusion of Einsteinian physics, classicism, and Catholic mysticism.
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.<ref name=":6">Elliott H. King in [[Dawn Ades]] (ed.), ''Dalí'', Bompiani Arte, Milan, 2004, p. 456.</ref> 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 pun]]s 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.<ref name="AdesOptical" />{{rp|17–18, 172}} He also experimented with the [[bulletism|bulletist]] technique<ref name="bp">{{cite web|url=http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/|title=The Phantasmagoric Universe – Espace Dalí À Montmartre
In 1960, Dalí began work on his [[Dalí Theatre and Museum|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.<ref name="Pitxot">{{cite book|last=Pitxot|first=Antoni | author-link = Antoni Pitxot|title=The Dalí Theatre-Museum|date=2007|publisher=Triangle Postals|location=Sant Lluís, Menorca|isbn=978-84-8478-288-9|author2=Montse Aguer Teixidor |author3=photography, Jordi Puig |author4= translation, Steve Cedar }}</ref><ref name="FGSD">{{cite web|url=http://www.salvador-dali.org/museus/figueres/en_historia.html|title=Figueres: Teatre Museu Dalí – History|year=2010|publisher=Fundació Gala-Salvador Dalí|access-date=20 June 2010|archive-date=3 April 2014|archive-url=https://web.archive.org/web/20140403010843/http://www.salvador-dali.org/museus/figueres/en_historia.html|url-status=live}}</ref>
In 1955, Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse, and model.<ref>Gibson, Ian (1997) pp. 483–97</ref> 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.<ref name="Prose">Prose, Francine. (2000) ''[https://books.google.com/books?id=0rJ2EPVYbFUC The Lives of the Muses: Nine Women and the Artists they Inspired] {{Webarchive|url=https://web.archive.org/web/20160418233621/https://books.google.com/books?id=0rJ2EPVYbFUC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=18 April 2016 }}''. Harper Perennial. {{ISBN|0-06-055525-4}}.</ref><ref name="Lear">Lear, Amanda. (1986) ''My Life with Dalí''. Beaufort Books. {{ISBN|0-8253-0373-7}}.</ref>
=== Final years and death ===
[[File:20061227-Figueres Sant Pere MQ.jpg|thumb|Church of ''Sant Pere'' in [[Figueres]], site of Dalí's baptism, first communion, and funeral]]
[[File:Salvador Dali Crypt in Figueres.jpg|thumb|Dalí's crypt at the [[Dalí Theatre and Museum|Dalí Theatre-Museum]] in [[Figueres]] displays his name and title.]]
Line 194 ⟶ 193:
In July 1986, Dalí had a pacemaker implanted. On his return to his Theatre-Museum he made a brief public appearance, saying:
{{blockquote|When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.<ref>{{cite web| url = https://somatemps.me/2017/03/26/video-ultima-entrevista-a-dali-viva-el-rey-viva-espana-viva-cataluna/| title = Somatemps Catalanitat és Hispanitat, ''Última entrevista a Dalí: "¡Viva el Rey, viva España, viva Cataluña!"'' (video), published 26 March 2017| date = 26 March 2017| access-date = 22 July 2017| archive-date = 9 July 2017| archive-url = https://web.archive.org/web/20170709151952/https://somatemps.me/2017/03/26/video-ultima-entrevista-a-dali-viva-el-rey-viva-espana-viva-cataluna/| url-status = live}}</ref><ref>{{cite news| url = https://elpais.com/diario/1986/07/17/cultura/521935202_850215.html| title = El País, ''Dalí vuelve a casa'', 17 July 1986| newspaper = El País| date = 16 July 1986| access-date = 22 July 2017| archive-date = 14 September 2017| archive-url = https://web.archive.org/web/20170914172118/https://elpais.com/diario/1986/07/17/cultura/521935202_850215.html| url-status = live| language=es}}</ref>}}
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.<ref>[[Meredith Etherington-Smith|Etherington-Smith, Meredith]], [https://books.google.com/books?id=soncxLrkYX0C The Persistence of Memory: A Biography of Dalí] {{Webarchive|url=https://web.archive.org/web/20160419054622/https://books.google.com/books?id=soncxLrkYX0C&dq |date=19 April 2016 }} p. 411, 1995 Da Capo Press, {{ISBN|0-306-80662-2}}</ref> 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.<ref name="Artner">{{cite news |last1=Artner |first1=Alan G. |title=Surrealist painter Salvador Dali, flamboyant art revolutionary |url=https://www.proquest.com/docview/1015353001 |access-date=9 May 2022 |work=Chicago Tribune |date=24
[[Gala-Salvador Dalí Foundation|The Gala-Salvador Dalí Foundation]] currently serves as his official estate.<ref>{{cite web|url=http://www.salvador-dali.org/en_index.html|title=Salvador Dalí's Museums – Gala|publisher=Salvador Dalí Foundation|website=www.salvador-dali.org|access-date=26 June 2017|archive-date=25 June 2014|archive-url=https://web.archive.org/web/20140625173816/http://www.salvador-dali.org/en_index.html|url-status=live}}</ref> The US copyright representative for the Gala-Salvador Dalí Foundation is the [[Artists Rights Society]].<ref>{{cite web |url=http://arsny.com/requested.html |title=Most frequently requested artists list of the Artists Rights Society |archive-url=https://web.archive.org/web/20090131151943/http://arsny.com/requested.html |archive-date=31 January 2009 |publisher=[[Artists Rights Society]]}}</ref>▼
==== 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.<ref>{{Cite news |title=La exhumación del cuerpo de Salvador Dalí se inicia hoy a partir de las 20 horas |url=http://www.marca.com/tiramillas/actualidad/2017/07/20/59706333ca474183398b4636.html |date=20 July 2017 |access-date=20 July 2017 |newspaper=[[Marca (newspaper)|Marca]] |language=es |archive-date=20 July 2017 |archive-url=https://web.archive.org/web/20170720151240/http://www.marca.com/tiramillas/actualidad/2017/07/20/59706333ca474183398b4636.html |url-status=live }}</ref> Joan Manuel Sevillano, manager of the ''Fundación Gala Salvador Dalí''
== 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 [[Sigmund Freud|Freud]] in the 1920s) others (such as
=== 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.<ref>Gibson, Ian (1997), p. 312</ref> 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.<ref>{{Cite web|url=https://ivc.lib.rochester.edu/breaking-dalinian-bread-on-consuming-the-anthropomorphic-performative-ferocious-and-eucharistic-loaves-of-salvador-dali/|title=Breaking Dalinian Bread|last=Pine|first=Julia|date=1 January 2010|website=InVisible Culture|access-date=3 April 2020|archive-date=30 July 2020|archive-url=https://web.archive.org/web/20200730163221/https://ivc.lib.rochester.edu/breaking-dalinian-bread-on-consuming-the-anthropomorphic-performative-ferocious-and-eucharistic-loaves-of-salvador-dali/|url-status=live}}</ref> He saw bread as "the elementary basis of continuity" and "sacred subsistence".<ref>{{Cite book|last=Dalí|first=Salvador|title=The Secret Life of Salvador Dalí|publisher=Dover Publications|year=1993|isbn=978-0-486-27454-6|location=New York|page=306}}</ref>
The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love.<ref name="symb">{{cite web|url=http://www.countyhallgallery.com/education/dali_symbols.htm|title=Salvador Dalí's symbolism|work=County Hall Gallery|archive-url=https://web.archive.org/web/20061202083808/http://www.countyhallgallery.com/education/dali_symbols.htm|archive-date=2 December 2006|access-date=28 July 2006}}</ref> It appears in ''[[The Great Masturbator]]
The famous "melting watches" that appear in ''The Persistence of Memory'' suggest [[Albert Einstein|Einstein]]'s theory that time is relative and not fixed.<ref name="Conquete" /> Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating [[Camembert]] cheese.<ref>Salvador Dalí, ''The Secret Life of Salvador Dalí'' (New York: Dial Press, 1942), p. 317.</ref>
=== 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]].<ref name=":6" /> However, he also used it as an obvious phallic symbol as in ''[[Young Virgin Auto-Sodomized by the Horns of Her Own Chastity]].''<ref name=":0">Gibson, Ian (1997) p. 478</ref>
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
=== 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 [[Theory of relativity|Einstein's theory of the relativity]] of time and space.<ref name="Conquete" /> Images of atomic particles appeared in his work soon after the [[atomic bombing of Hiroshima and Nagasaki]]<ref>Gibson, Ian (1997) pp. 433–34</ref> and strands of
''[[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]].<ref name="triangle" />
== Endeavors outside painting ==
Line 237 ⟶ 234:
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.<ref>Owen Cheatham Foundation. ''Dalí, a study of his art-in-jewels: the collection of the Owen Cheatham Foundation''. New York: New York Graphic Society. 1959. p. 14.</ref>
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".<ref>{{cite journal | title = Faenza-Goldmedaille für SUOMI | journal=Artis | year = 1976 | volume = 29 | page = 8| issn = 0004-3842}}</ref> In 1969 he designed the [[Chupa Chups]] logo.<ref>{{cite journal|last=H. Vázquez|first=Carlos|date=2 July 2015|title=Cuando Dalí reinventó Chupa Chups|url=http://forbes.es/business/7188/cuando-dali-reinvento-chupa-chups/|journal=[[Forbes]]|language=es|access-date=17 March 2018|archive-date=4 June 2019|archive-url=https://web.archive.org/web/20190604112133/http://forbes.es/business/7188/cuando-dali-reinvento-chupa-chups/|url-status=live}}</ref> He facilitated the design of the advertising campaign for the [[Eurovision Song Contest 1969|1969 Eurovision Song Contest]] and created a large on-stage metal sculpture that stood at the [[Teatro Real]] in Madrid.<ref>{{cite journal|last=Calandria|first=Juan|date=29 March 2017|title=Madrid acoge el festival de Eurovisión de 1969|url=http://eurovisionplanet.com/madrid-acoge-el-festival-de-eurovision-de-1969|journal=Eurovision Planet|language=es|access-date=17 March 2018|archive-date=17 March 2018|archive-url=https://web.archive.org/web/20180317232657/http://eurovisionplanet.com/madrid-acoge-el-festival-de-eurovision-de-1969|url-status=live}}</ref><ref>{{cite journal|author=Jacques|date=26 April 2009|title=40 años de Eurovisión 1969 – Segunda parte: Canciones 1–5|url=http://olevision.com/2009/04/40-anos-de-eurovision-1969-segunda-parte-canciones-1-5/|journal=Ole Vision|language=es|access-date=17 March 2018|archive-date=17 March 2018|archive-url=https://web.archive.org/web/20180317232704/http://olevision.com/2009/04/40-anos-de-eurovision-1969-segunda-parte-canciones-1-5/|url-status=live}}</ref>
[[File:Dali Sundial in Paris.jpg|thumb|A sundial painted by Dalí, 27 [[Rue Saint-Jacques, Paris]]]]
Line 246 ⟶ 243:
Dalí became interested in film when he was young, going to the theater most Sundays.<ref>"Dalí & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.</ref> By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"<ref>Gibson, Ian (1997) p. 174</ref> 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''.<ref>Gibson, Ian (1997) pp. 248–49</ref> ''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.<ref>Eberwein, Robert T. (2014). ''[https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83 Film and the Dream Screen: A Sleep and a Forgetting] {{Webarchive|url=https://web.archive.org/web/20200217091955/https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83&dq= |date=17 February 2020 }}''. Princeton University Press. p. 83. {{ISBN|1-4008-5389-3}}.</ref> ''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.<ref>Gibson, Ian (1997), pp. 267–74</ref> 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."<ref>Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.</ref>
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).<ref>"Dali: Painting and Film," Press release, Museum of Modern Art, June 2008</ref> In 1945 Dalí created the dream sequence in Hitchcock's ''[[Spellbound (1945 film)|Spellbound]]'', but neither Dalí nor the director was satisfied with the result.<ref>Gibson, Ian (1997) pp. 434–35</ref> Dalí also worked with [[Walt Disney]] and animator [[John Hench]] on the short film ''[[Destino]]'' in 1946.<ref name=":3" /> 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.<ref>Gibson, Ian (1997) p. 479</ref>
In the 1960s Dalí worked with some directors on documentary and performance films including with [[Philippe Halsman]] on ''Chaos and Creation'' (1960), [[Jack Bond (director)|Jack Bond]] on ''Dalí in New York'' (1966) and [[Jean-Christophe Averty]] on ''Soft Self-Portrait of Salvador Dalí'' (1966).<ref>Gibson, Ian (1997), pp. 519, 726</ref>
Line 262 ⟶ 259:
=== Architecture ===
[[File:Dali museum.jpg|thumb|[[Dalí Theatre and Museum|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.<ref name=DrmVns>{{cite book|last=Schaffner|first=Ingrid, Photogr. by Eric Schaal|title=Salvador Dalí's "Dream of Venus": the surrealist funhouse from the 1939 World's Fair|year=2002|publisher=Princeton Architectural Press|location=New York|isbn=978-1-56898-359-2|edition=1. }}</ref> In 1958, Dalí completed ''Crisalida,'' a temporary installation promoting a drug, which was exhibited at a medical convention in San Francisco.<ref>{{Cite journal |last=Weir |first=Simon |date=
=== Literary works ===
Line 276 ⟶ 273:
== Politics and personality ==
=== Politics and religion ===
[[File:Salvador
As a youth, Dalí identified as communist, anti-monarchist and anti-clerical,<ref>Gibson, Ian (1997) pp. 64–67, 83–84</ref> and in 1924 he was briefly imprisoned by the [[Miguel Primo de Rivera|Primo de Rivera dictatorship]] as a person "intensely liable to cause public disorder".<ref>Gibson, Ian (1997), pp. 113–14</ref> When Dalí officially joined the Surrealist group in 1929 his political activism initially intensified. In 1931, he became involved in the [[Workers and Peasants' Bloc|Workers' and Peasants' Front]], delivering lectures at meetings and contributing to their party journal.<ref>Gibson, Ian (1997) pp. 287–89</ref> 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.<ref>Gibson, Ian (1997) pp. 320–25</ref> In 1935 Dalí wrote a letter to Breton suggesting that non-white races should be enslaved.<ref>{{Cite news|url=https://www.telegraph.co.uk/world-news/2022/09/01/salvador-dali-wanted-enslave-non-white-races-create-new-sadistic/|title=Salvador Dali wanted to enslave non-white races and create new 'sadistic' religion, letter reveals|first=James|last=Badcock|newspaper=The Telegraph |date=1 September 2022|via=www.telegraph.co.uk}}</ref> After the outbreak of the Spanish Civil War in 1936, Dalí avoided taking a public stand for or against the Republic.<ref name=":4" /> However, immediately after Franco's victory in 1939, Dalí praised Catholicism and the Falange and was expelled from the Surrealist group.<ref name=":5" />
Line 284 ⟶ 281:
=== 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.<ref>Gibson, Ian (1997) pp. 71–74,166, 232, 280–81</ref> Dalí said that his wife Gala was the only person with whom he had achieved complete coitus.<ref>Gibson, Ian (1997), p. 231</ref> From 1927, Dalí's work featured graphic and symbolic sexual images usually associated with other images evoking shame and disgust.
===Personality===
[[File:Salvador Dali NYWTS.jpg|thumb|upright|Dalí in the 1960s, sporting his characteristic flamboyant moustache, holding his pet ocelot, Babou]]
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."<ref>Gibson, Ian (1997) pp. 413–14</ref> When Dalí was elected to the [[Académie des Beaux-Arts|French Academy of Fine Arts]] in 1979, one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries".<ref>Gibson, Ian (1997) p. 569</ref>
In 1936, at the premiere screening of [[Joseph Cornell]]'s film ''[[Rose Hobart (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!"<ref>{{cite web|url=http://andel.home.mindspring.com/cornell_notes.htm|title=Program Notes by Andy Ditzler (2005) and Deborah Solomon, ''Utopia Parkway: The Life of Joseph Cornell'' (New York: Farrar, Straus, and Giroux, 2003)|publisher=Andel.home.mindspring.com|url-status=dead|archive-url=https://web.archive.org/web/20050408200021/http://andel.home.mindspring.com/cornell_notes.htm|archive-date=8 April 2005|access-date=22 August 2010}}</ref> In 1939,
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".<ref name="Smithsonian">[http://www.smithsonianmagazine.com/issues/2005/april/dali.php?page=3 The Surreal World of Salvador Dalí] {{Webarchive|url=https://web.archive.org/web/20070303165950/http://www.smithsonianmagazine.com/issues/2005/april/dali.php?page=3 |date=3 March 2007 }}. ''Smithsonian Magazine.'' 2005. Retrieved 31 August 2006.</ref>
Dalí frequently traveled with his pet [[ocelot]] [[Babou (ocelot)|Babou]], even bringing it aboard the luxury ocean liner SS ''France''.<ref name="NBCSSFrance">{{cite news |title=Retired cruise ship now asbestos battleground |url=https://www.nbcnews.com/id/wbna12702721 |access-date=7 May 2022 |work=NBC News |language=en}}
Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on
==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|St. Petersburg]],
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.<ref name=":9">{{Cite web|url=https://www.tate.org.uk/tate-etc/issue-3-spring-2005/who-paints-bread-better-dali|title=Who Paints Bread Better than Dali|last=Koons|first=Jeff|date=March 2005|access-date=1 April 2020|archive-date=9 June 2020|archive-url=https://web.archive.org/web/20200609111948/https://www.tate.org.uk/tate-etc/issue-3-spring-2005/who-paints-bread-better-dali|url-status=live}}</ref><ref name=":8" /> He has also had a continuing influence on contemporary culture. He has been portrayed on film by [[Robert Pattinson]] in ''[[Little Ashes]]'' (2008),
▲[[Gala-Salvador Dalí Foundation|The Gala-Salvador Dalí Foundation]] currently serves as his official estate.<ref>{{cite web
== Honors ==
Line 308 ⟶ 306:
* '''1964''': Knight Grand Cross of the [[Order of Isabella the Catholic]]<ref>{{cite web|url=http://en.museuberardo.pt/collection/artists/138|title=Dalí – Museu Berardo|website=en.museuberardo.pt|access-date=26 June 2017|archive-date=27 May 2017|archive-url=https://web.archive.org/web/20170527130700/http://en.museuberardo.pt/collection/artists/138|url-status=live}}</ref>
* '''1972''': Associate member of the [[Royal Academy of Science, Letters and Fine Arts of Belgium]]<ref>{{cite web|url=http://www.academieroyale.be/fr/details-690/relations/salvador-dali/secorig593/|title=Salvador Dalí|website=www.academieroyale.be|access-date=26 June 2017|archive-date=23 October 2017|archive-url=https://web.archive.org/web/20171023174020/http://www.academieroyale.be/fr/details-690/relations/salvador-dali/secorig593/|url-status=live}}</ref>
* '''1978
* '''1981''': Knight Grand Cross of the [[Order of Charles III]]<ref>{{Cite news|url=https://www.nytimes.com/1983/04/19/arts/major-retrospective-honors-dali-in-spain.html|title=Major Retrospective Honors Dalí in Spain|date=19 April 1983|newspaper=The New York Times|access-date=26 June 2017|last1=Darnton|first1=John|archive-date=23 October 2017|archive-url=https://web.archive.org/web/20171023175348/http://www.nytimes.com/1983/04/19/arts/major-retrospective-honors-dali-in-spain.html|url-status=live}}</ref>
* '''1982''': Created 1st Marquess of Dalí of Púbol, by [[Juan Carlos I of Spain|King Juan Carlos]]<ref name=":7" />
==
{{Main|List of works by Salvador Dalí}}
Dalí produced over 1,600 paintings and numerous graphic works, sculptures, three-dimensional objects, and designs.<ref>Descharnes, Robert and Néret, Giles, ''Dalí'', Taschen, 2001 – 2007</ref>
*
▲* ''[[Un Chien Andalou]]'' (''An Andalusian Dog'') (1929) (film in collaboration with [[Luis Buñuel]])
* ''[[The Great Masturbator]]'' (1929)
* ''[[L'Age d'Or]]'' (''The Golden Age'') (1930) (film in collaboration with Luis Buñuel)
* ''[[The Persistence of Memory]]'' (1931)
* ''[[Lobster Telephone]]'' (1936)
* ''[[Soft Construction with Boiled Beans (Premonition of Civil War)]]'' (1936)
* ''[[Metamorphosis of Narcissus]]'' (1937)
* ''[[The Burning Giraffe]]'' (1937)
* ''[[Mae West Lips Sofa]]'' (1937)
*
▲* ''[[Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening]]'' (c.1944)
* ''[[The Madonna of Port Lligat]]'' (1949)
* ''[[
* ''[[Young Virgin Auto-Sodomized by the Horns of Her Own Chastity]]'' (1954)
* ''[[The Discovery of America by Christopher Columbus]]'' (1958)
* [[La Gare de Perpignan|''Perpignan Railway Station'']] (c. 1965)
* ''[[The Hallucinogenic Toreador]]'' (1970)
== Dalí museums and permanent exhibitions ==
* [[Dalí Theatre and Museum|Dalí Theatre-Museum]] – [[Figueres]],
* [[Museo Nacional Centro de Arte Reina Sofia]] (Reina Sofia Museum) – Madrid, Spain, holds a significant collection
* [[Salvador Dalí House Museum]] – [[Port Lligat]], Catalonia, Spain
Line 412 ⟶ 377:
* {{cite web|url=http://www.ubu.com/sound/dali.html |website=UbuWeb|title=Sound: Salvador Dalí}} Interview and bank advertisement.
* {{cite web|url=https://www.ina.fr/recherche/search?search=Salvador+Dali|title=Video: Salvador Dalí |website=INA Archives}} A collection of interviews and footage of Dalí in the French television
*[http://www.hrc.utexas.edu/multimedia/video/2008/wallace/dali_salvador.html Mike Wallace interviews Salvador Dalí] [https://archive.today/
*[https://www.bbc.co.uk/iplayer/episode/p00nw1ls/panorama-salvador-dali ''Panorama'': Salvador Dali]
{{Salvador Dalí|state=expanded}}
Line 424 ⟶ 389:
[[Category:1904 births]]
[[Category:1989 deaths]]
[[Category:
[[Category:Spanish artists]]▼
[[Category:Francoists]]▼
[[Category:20th-century Spanish painters]]
[[Category:
[[Category:
[[Category:
[[Category:
[[Category:Knights Grand Cross of the Order of Isabella the Catholic]]▼
[[Category:Marquesses of Spain]]
[[Category:Mathematical artists]]
[[Category:Members of the Royal Academy of Belgium]]
[[Category:
[[Category:
[[Category:Recipients of the Legion of Honour]]
▲[[Category:Spanish artists]]
[[Category:Spanish erotic artists]]
[[Category:Spanish
[[Category:Spanish
[[Category:Surrealist filmmakers]]▼
[[Category:20th-century Spanish sculptors]]▼
▲[[Category:20th-century male artists]]
[[Category:Spanish male sculptors]]
[[Category:
▲[[Category:Knights Grand Cross of the Order of Isabella the Catholic]]
[[Category:Spanish people of Arab descent]]
[[Category:Spanish people of Jewish descent]]
[[Category:Spanish printmakers]]
[[Category:Spanish Roman Catholics]]
[[Category:Spanish surrealist artists]]
[[Category:Surrealist artists]]
▲[[Category:Surrealist filmmakers]]
|