Salvador Domingo Felipe Jacinto Dalí i Domènech was born on May 11, 1904 in the town of Figueres, in the Pyrenean Isthmus. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.
His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together. Dalí attended drawing school. In 1916, Dalí also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris. The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theater in Figueres in 1919.
In February 1921, Dalí's mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul." After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had a great love and respect for his aunt.
Madrid and Paris
In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m (5 ft. 7¾ in.) tall, Dalí already drew attention as an eccentric and dandy. He wore long hair and sideburns, coat, stockings, and knee breeches in the style of English aesthetes of the late 19th century. At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca.
However it was his paintings in which he experimented with Cubism that earned him the most attention from his fellow students. At the time of these early works, Dalí probably did not completely understand the Cubist movement. His only information on Cubist art came from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time. In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem "Les bruixes de Llers" ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced his work throughout his life.
Dalí was expelled from the Academia in 1926, shortly before his final exams when he was accused of starting an unrest. His mastery of painting skills was evidenced by his realistic Basket of Bread, painted in 1926. That same year, he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró. As he developed his own style over the next few years Dalí made a number of works heavily influenced by Picasso and Miró.
Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic, to the most cutting-edge avant garde. His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer, and Velázquez. He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.
Dalí grew a flamboyant moustache, influenced by seventeenth-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life.
1929 through World War II
In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Also, in August 1929, Dalí met his muse, inspiration, and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called the paranoiac-critical method of accessing the subconscious for greater artistic creativity.
Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The last straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the "Sacred Heart of Jesus Christ", with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait." Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on December 28, 1929. His father told him that he would disinherit him, and that he should never set foot in Cadaquès again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He bought the place, and over the years enlarged it, gradually building his much beloved villa by the sea.
In 1931, Dalí painted one of his most famous works, The Persistence of Memory, which introduced 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 the other limp watches, shown being devoured by ants.
Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They later remarried in a Catholic ceremony in 1958.
Dalí was introduced to America by art dealer Julian Levy in 1934. The exhibition in New York of Dalí's works, including Persistence of Memory, created an immediate sensation.
While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism. Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group. To this, Dalí retorted, "I myself am surrealism."
In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, titled Fantomes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet.
At this stage, Dalí's main patron in London was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.
In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig. Later, in September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house La Pausa in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. La Pausa has been partially replicated at the Dallas Museum of Art to welcome the Reves collection and part of Chanel's original furniture for the house. In 1940, as World War II was in full swing at Europe, Dalí and Gala moved to the United States, where they lived for eight years. After the move, Dalí returned to the practice of Catholicism. "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes.
In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published his autobiography, The Secret Life of Salvador Dalí. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943. He also wrote a novel, published in 1944, about a fashion salon for automobiles. This resulted in a drawing by Edwin Cox in The Miami Herald, depicting Dalí dressing an automobile in an evening gown. Also in The Secret Life, Dalí suggested that he had split with Buñuel because the latter was a Communist and an atheist.
Later years in Catalonia
From 1949 onwards, Dalí spent his remaining years back in Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and from many other artists. As such, it is probable that the common dismissal of Dalí's later works by some Surrealists and art critics was related partially to politics rather than to the artistic merit of the works themselves. In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's Sistine Madonna in the International Surrealism Exhibition in New York the following year.
Late in his career, Dalí did not confine himself to painting, but experimented with many unusual or novel media and processes: he made bulletist works and was among the first artists to employ holography in an artistic manner. Several of his works incorporate optical illusions. In his later years, young artists such as Andy Warhol proclaimed Dalí an important influence on pop art. Dalí also had a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably in the 1950s, in which he painted his subjects as composed of rhinoceros horns. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. Dalí was also fascinated by DNA and the hypercube (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus).
Dalí's post–World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science, and religion. He became an increasingly devout Catholic, while at the same time he had been inspired by the shock of Hiroshima and the dawning of the "atomic age". Therefore Dalí labeled this period "Nuclear Mysticism." In paintings such as "The Madonna of Port-Lligat" (first version) (1949) and "Corpus Hypercubus" (1954), Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics. "Nuclear Mysticism" included such notable pieces as La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70). In 1960, Dalí began work on the Dalí Theatre and Museum in his home town of Figueres; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s.
In 1968, Dalí filmed a humorous television advertisement for Lanvin chocolates. In this, he proclaims in French "Je suis fou de chocolat Lanvin!" (I'm crazy about Lanvin chocolate) while biting a morsel causing him to become crosseyed and his moustache to swivel upwards. In 1969, he designed the Chupa Chups logo in addition to facilitating the design of the advertising campaign for the 1969 Eurovision Song Contest and creating a large on-stage metal sculpture that stood at the Teatro Real in Madrid.
Gala died on June 10, 1982. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt, or perhaps in an attempt to put himself into a state of suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. In any case, Dalí was rescued and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his Theater-Museum in his final years.
On January 23, 1989, while his favorite record of Tristan and Isolde played, he died of heart failure at Figueres at the age of 84, and, coming full circle, is buried in the crypt of his Teatro Museo in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is three blocks from the house where he was born.The Gala-Salvador Dalí Foundation currently serves as his official estate. The U.S. copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.
Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas.
Two of the most popular objects of the surrealist movement were Lobster Telephone and Mae West Lips Sofa, completed by Dalí in 1936 and 1937, respectively. Surrealist artist and patron Edward James commissioned both of these pieces from Dalí; James inherited a large English estate in West Dean, West Sussex when he was five and was one of the foremost supporters of the surrealists in the 1930s. "Lobsters and telephones had strong sexual connotations for [Dalí]", according to the display caption for the Lobster Telephone at the Tate Gallery, "and he drew a close analogy between food and sex." The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia.
In theatre, Dalí constructed the scenery for Federico García Lorca's 1927 romantic play Mariana Pineda. For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto. Bacchanale was followed by set designs for Labyrinth in 1941 and The Three-Cornered Hat in 1949.
Dalí became intensely interested in film when he was young, going to the theatre most Sundays. He was part of the era where silent films were being viewed and drawing on the medium of film became popular. He believed there were two dimensions to the theories of film and cinema: "things themselves", the facts that are presented in the world of the camera; and "photographic imagination", the way the camera shows the picture and how creative or imaginative it looks. Dalí was active in front of and behind the scenes in the film world. He created pieces of artwork such as Destino, on which he collaborated with Walt Disney. He is also credited as co-creator of Luis Buñuel's surrealist film Un Chien Andalou, a 17-minute French art film co-written with Luis Buñuel that is widely remembered for its graphic opening scene simulating the slashing of a human eyeball with a razor. This film is what Dalí is known for in the independent film world. Un Chien Andalou was Dalí's way of creating his dreamlike qualities in the real world. Images would change and scenes would switch, leading the viewer in a completely different direction from the one they were previously viewing. The second film he produced with Buñuel was entitled L'Age d'Or, and it was performed at Studio 28 in Paris in 1930. L'Age d'Or was "banned for years after fascist and anti-Semitic groups staged a stink bomb and ink-throwing riot in the Paris theater where it was shown." Although negative aspects of society were being thrown into the life of Dalí and obviously affecting the success of his artwork, it did not hold him back from expressing his own ideas and beliefs in his art. Both of these films, Un Chien Andalou and L'Age d'Or, have had a tremendous impact on the independent surrealist film movement. "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."
Politics and personality
Salvador Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both anarchism and communism, though his writings account anecdotes of making radical political statements more to shock listeners than from any deep conviction. This was in keeping with Dalí's allegiance to the Dada movement.
As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of Trotskyist André Breton, who is said to have called Dalí in for questioning on his politics. In his 1970 book Dalí by Dalí, Dalí was declaring himself an anarchist and monarchist.
With the outbreak of the Spanish Civil War, Dalí fled from fighting and refused to align himself with any group. After his return to Catalonia after World War II, Dalí became closer to the authoritarian Franco regime.
Legacy
Salvador Dalí has been cited as major inspiration from many modern artists, such as Damien Hirst, Noel Fielding, Jeff Koons and most other modern surrealists. Salvador Dalí's manic expression and famous moustache have made him something of a cultural icon for the bizarre & surreal.
Listing of selected works
Dalí produced over 1,500 paintings in his career in addition to producing illustrations for books, lithographs, designs for theatre sets and costumes, a great number of drawings, dozens of sculptures, and various other projects, including an animated short film for Disney. He also collaborated with director Jack Bond in 1965, creating a movie titled Dalí in New York. Below is a chronological sample of important and representative work, as well as some notes on what Dalí did in particular years.
In Carlos Lozano's biography, Sex, Surrealism, Dalí, and Me, produced with the collaboration of Clifford Thurlow, Lozano makes it clear that Dalí never stopped being a surrealist. As Dalí said of himself: "the only difference between me and the surrealists is that I am a surrealist."
- 1910 Landscape Near Figueras
- 1913 Vilabertin
- 1916 Fiesta in Figueras (begun 1914)
- 1917 View of Cadaqués with Shadow of Mount Pani
- 1918 Crepuscular Old Man (begun 1917)
- 1919 Port of Cadaqués (Night) (begun 1918) and Self-portrait in the Studio
- 1920 The Artist's Father at Llane Beach and View of Portdogué (Port Aluger)
- 1921 The Garden of Llaner (Cadaqués) (begun 1920) and Self-portrait
- 1922 Cabaret Scene and Night Walking Dreams
- 1923 Self Portrait with L'Humanite and Cubist Self Portrait with La Publicitat
- 1924 Still Life (Syphon and Bottle of Rum) (for García Lorca) and Portrait of Luis Buñuel
- 1925 Large Harlequin and Small Bottle of Rum and a series of fine portraits of his sister Anna Maria, most notably Figure at a Window
- 1926 The Basket of Bread and Girl from Figueres
- 1927 Composition with Three Figures (Neo-Cubist Academy) and Honey is Sweeter than Blood (his first important surrealist work)
- 1929 Un Chien Andalou (An Andalusian Dog) film in collaboration with Luis Buñuel, The Lugubrious Game, The Great Masturbator, The First Days of Spring, and The Profanation of the Host
- 1930 L'Age d'Or (The Golden Age) film in collaboration with Luis Buñuel
- 1931 The Persistence of Memory (his most famous work, featuring the "melting clocks"), The Old Age of William Tell, and William Tell and Gradiva
- 1932 The Spectre of Sex Appeal, The Birth of Liquid Desires, Anthropomorphic Bread, and Fried Eggs on the Plate without the Plate. The Invisible Man (begun 1929) completed (although not to Dalí's own satisfaction)
- 1933 Retrospective Bust of a Woman (mixed media sculpture collage) and Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder, Gala in the Window
- 1934 The Ghost of Vermeer of Delft Which Can Be Used As a Table and A Sense of Speed
- 1935 Archaeological Reminiscence of Millet's Angelus and The Face of Mae West
- 1936 Autumn Cannibalism, Lobster Telephone, Soft Construction with Boiled Beans (Premonition of Civil War) and two works titled Morphological Echo (the first of which began in 1934)
- 1937 Metamorphosis of Narcissus, Swans Reflecting Elephants, The Burning Giraffe, Sleep, The Enigma of Hitler, Mae West Lips Sofa and Cannibalism in Autumn
- 1938 The Sublime Moment and Apparition of Face and Fruit Dish on a Beach
- 1939 Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time
- 1940 Slave Market with the Disappearing Bust of Voltaire, The Face of War
- 1941 Honey is Sweeter than Blood
- 1943 The Poetry of America and Geopoliticus Child Watching the Birth of the New Man
- 1944 Galarina and Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening
- 1944–48 Hidden Faces, a novel
- 1945, Basket of Bread—Rather Death than Shame and Fountain of Milk Flowing Uselessly on Three Shoes; also this year, Dalí collaborated with Alfred Hitchcock on a dream sequence to the film Spellbound, to mutual dissatisfaction
- 1946 The Temptation of St. Anthony
- 1948 Les Elephants
- 1949 Leda Atomica and The Madonna of Port Lligat. Dalí returned to Catalonia this year
- 1951 Christ of Saint John of the Cross and Exploding Raphaelesque Head
- 1951 Katharine Cornell, a portrait of the famed actress
- 1952 Galatea of the Spheres
- 1954 The Disintegration of the Persistence of Memory (begun in 1952), Crucifixion (Corpus Hypercubus) and Young Virgin Auto-Sodomized by the Horns of Her Own Chastity
- 1955 The Sacrament of the Last Supper, Lonesome Echo, record album cover for Jackie Gleason
- 1956 Still Life Moving Fast, Rinoceronte vestido con puntillas
- 1957 Santiago el Grande oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton, NB, Canada
- 1958 The Meditative Rose
- 1959 The Discovery of America by Christopher Columbus
- 1960 Composición Numérica (de fond préparatoire inachevé)]
- 1960 Dalí began work on the Teatro-Museo Gala Salvador Dalí and Portrait of Juan de Pareja, the Assistant to Velázquez
- 1963–1964 They Will All Come from Saba a work in water color depicting the Magi at St. Petersbur's Dali Museum
- 1965 Dalí donates a gouache, ink and pencil drawing of the Crucifixion to the Rikers Island jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981
- 1965 Dalí in New York
- 1967 Tuna Fishing
- 1969 Chupa Chups logo
- 1969 – Improvisation on a Sunday Afternoon, television collaboration with the rock group Nirvana
- 1970 The Hallucinogenic Toreador, acquired in 1969 by A. Reynolds Morse & Eleanor R. Morse before it was completed
- 1972 La Toile Daligram, Helena Devulina Diakanoff – dit., GALA
- 1973 "Le Diners De Gala", an ornately illustrated cook book
- 1976 Gala Contemplating the Mediterranean Sea
- 1977 Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun (stereoscopical pair of paintings)
- 1983 Dalí completes his final painting, The Swallow's Tail
- 2003 Destino, an animated short film originally a collaboration between Dalí and Walt Disney, is released. Production on Destino began in 1945
The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, in the Pyrnean Isthmus followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. It holds over 1,500 works from Dalí. Other particularly significant collections include the Reina Sofia Museum in Madrid and the Salvador Dalí Gallery in Pacific Palisades, California. Espace Dalí in Montmartre, Paris, France, as well as the Dalí Universe in London, England, contain a large collection of his drawings and sculptures.
NovelsUnder the encouragement of poet Federico García Lorca, Dalí attempted an approach to a literary career through the means of the "pure novel". In his only literary production, Hidden Faces (1944), Dalí describes, in vividly visual terms, the intrigues and love affairs of a group of dazzling, eccentric aristocrats who, with their luxurious and extravagant lifestyle, symbolize the decadence of the 1930s.
No comments:
Post a Comment