Salvador Dali Lincoln In Dalivision AUTHENTIC HandSigned 1977 Etching/Litho RARE

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Seller: bestpurchase4u ✉️ (92) 92.9%, Location: Beverly Hills, California, US, Ships to: WORLDWIDE, Item: 355563007826 Salvador Dali Lincoln In Dalivision AUTHENTIC HandSigned 1977 Etching/Litho RARE.

Salvador Dalí­ rare vintage mid-century lifetime work!

Lincoln in Dalivision 1977 by Salvador Dali

Fully authenticated rare Lithograph with original Etching and embossing HAND SIGNED & NUMBERED. 

Artist: Salvador Dalí
Title: Lincoln in Dalivision
Year created: 1977
Medium: Original, Unique Remarqued & Embossed Photolith on Arches Paper
Edition: Original Unique Artwork, Limited Edition 310/350 on Arches Paper
Height (inches): 24.375
Width (inches): 17.25
Includes a certificate of authenticity.  Also includes the RARE original gold viewing monocle as sold by Martin Lawrence Gallery, the original distributor of the AUTHENTIC LINCOLN IN DALIVISION.

Description of piece: This rare, original and unique artwork, Lincoln in Dalivision, by Salvador Dalí is hand-signed, 

bearing Dalí's iconic signature, prominently, in pencil. 

Important note:  90% of the "Lincoln in Dalivision" prints listed on Ebay are either REPRODUCTIONS or OUTRIGHT COUNTERFEITS.                                             

Be very careful purchasing prints that are not authentic.  Dali is among one of the most counterfeited artists of ALL TIME!   

Ebay does not have the ability to monitor this.    If you have any questions, including the need for appraisal or authentication 

on works by Dali, or  other modern & contemporary artist,  please feel free to message me.  

Lincoln in Dalivision is essentially a photomosaic, and Dalí's photolith is recognized as one of the finest examples of photomosaic art by a prominent artist. Viewed at close range, the work appears as a portrait of a woman, colored "tiles", a cross-like shape containing imagery and colors, and several thumbnail images. Viewed at a distance, a remarkable optical illusion occurs, and a portrait of Abraham Lincoln is revealed. When published, Lincoln in Dalivision photoliths were accompanied by an optic viewing lens in a special presentation case, which permitted one to see the Lincoln portrait at close range. The original viewing lens and case are included with this work!

With an image size measuring 24.375" in height x 17.25" width, the artwork is boldly signed in the lower right margin, and numbered in the lower left; 176 from a limited edition of 350 pieces created on Arches paper, and published by Levine and Levine. Lincoln in Dalivision comes framed in an elegant and striking vintage custom archival frame, designed to showcase the work. In its golden lacquered wood frame, complemented by a slubbed black linen mat, and accented with a golden wood fillet, the piece also bears a special "Lincoln in Dali Vision" plaque. Framed size is 35" in height x 26" width.

Lincoln in Dalivision is at once one of the most sought-after Dalí works, and considered by experts to be one of the most counterfeited. Expert authentication is required to confirm authenticity of this work and many experts who can typically authenticate various works via pictures and measurements only, require viewing Lincoln in Dalivision in person before they will authenticate the piece.

This artwork is pictured and listed in Dalí expert and author of the authoritative Official Catalog of The Graphic Works of Salvador Dalí, by Albert Field, Reference: 77-1, page 118, it is designated as "Scarce", and valued at $38,000 in the 2015 edition of The Print Price Guide to the Graphic Works of Salvador Dalí. 

The work is accompanied by an additional certificate of authenticity.

Artist bio: Salvador Dalí, born Salvador Domingo Felipe Jacinto Dalí i Domènech, (1904-1989) was a prominent artist born in Figueres, Spain, in the foothills of the Pyrenees, sixteen miles from the French border, in Catalonia. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media, and he is best known for his surrealist work, including his most well-known painting, The Persistence of Memory. Highly imaginative, Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an ancestry of descent from the medieval Moors. His individualistic nature and resistance to conformity made waves, including among his colleagues. In 1934, when Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group, Dalí retorted, "le Surrealisme c'est moi": "I myself am surrealism".

Gallery retail list over $ 38,000.  Selling for $9999.00. Can be shipped anywhere in the world, picked up or delivered near Beverly Hills , California

Shipped fully insured and authenticated.

Museum framed and mated under archival plexiglass.  It was removed from the frame to examine and photograph for a condition report and for authentication.  Detail photographs of the signature, numbering, the original etching, the Arches paper watermark, images of the embossing and etching detail from the back of the paper, and the corners of the sheet to show that the print is a full sheet and not trimmed.  All these details are those needed to show authenticity and condition.  There are many FAKES and reproductions on the market.  Feel free to reach out if you need assistance in authenticating a Dali.  I have collected Dali since 1977 the same year this artwork was created and am very  knowledgeable.

Please message me with any questions before making the purchase. 

Published edition:  

Lincoln in Dalivision  was primarily published by Levine & Levine in New York in 1977. 

All editions were signed and numbered, with the exception of those marked HC. 

Total production was 1240 "lithographs" in the following editions:

  • 1 – 350 on Arches paper [Distributed by Martin Lawrence Limited Editions, Van Nuys, California, i.e. American Edition]
  • E1/350 – E350/350 on Arches paper [European Edition]
  • G1/125 – G125/125 (Publisher Grafos Verlag, Vaduz, Germany)
  • EA1/75 – EA75/75 on Japon paper [épreuve d'artiste, i.e. Artist's Print]
  • AP1/75 – AP75/75 on Japon paper [Artist's Print]
  • HC 65 [hors de commerce, i.e. not for sale] – 65 unnumbered and used mainly for promotional purposes
  • I/CC – CC/CC on Arches paper
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Lincoln in Dalivision
ArtistSalvador Dalí (1977)
LocationTwo originals:

- Dalí Theatre and Museum ,Figueres , Spain

- Salvador Dalí Museum , St. Petersburg , Florida , USA

Lincoln in Dalivision  is an  limited edition lithograph  Photolith with an original etching and embossing created by Salvador Dalí . 

Lincoln in Dalivision  was created based on the Dalí painting Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln  (Homage to Rothko).  Dalí painted two original versions of this painting spanning from 1974 – 1976, which are similar but not exactly the same. The first resides in the Dalí Theatre and Museum  in Figueres, Spain . The second resides in the permanent collection of The Salvador Dalí Museum  in St. Petersburg, Florida .

This painting is the basis for the  Lincoln in Dalivision  lithograph. Prior to the acquisition by The Salvador Dalí Museum, the painting resided in Japan.    The second version was exhibited for the first time at the  Guggenheim Museum  in the summer of 1976.

It is often considered one of the most counterfeited Dalí lithographs.    Dalí authentication experts who have noted the counterfeiting issue with this work include Albert Field ( The Official Catalog of Graphic Works of Salvador Dalí  – authorized by Dalí),  Frank Hunter (Dalí Archives – authorized by Dalí),    Robert Descharnes (French photographer, long-term friend and associate of Salvador Dalí)  

Dalí's paintings   Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko),   and the original   Lincoln in Dalivision   lithographs produced from these paintings were some of the first examples of the   photo mosaic   artistic approach by a recognized artist.   "The Recognition of Faces," by Leon Harmon   (Scientific American, November 1973)   was the first published work on photomosaic concepts. Harmon was a Bell Labs researcher who had been developing this concept, and the first image in this article was the well-recognized portrait of   Abraham Lincoln   from the U.S. five dollar bill made from a collection of solid gray mosaics.    Dalí began his first painting that led to   Lincoln in Dalivision   in 1974 and finished the version that would be used for   Lincoln in Dalivision   in 1976. Harmon's Lincoln mosaic was the basis for all of Dalí's Lincoln photomosaics, which is evident by comparing the solid gray mosaics from Harmon's paper and the final works of art by Dalí.

Dalí's paintings Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko)  was completed in 1976 and displayed at The Guggenheim in New York during the US Bicentennial in 1976. Lincoln in Dalivision  was originally intended for release in the same year, but was not finalized until 1977. Dalí moved to the US in 1940 when German troops entered Bordeaux, France. 

He remained in the US until 1948, then returned to Spain upon the conclusion of World War II.    Dalí spent significant time in the US, even after returning to Spain.

The prints were i originally sold at a price of $750.00   i n 1977  a small viewing optic lens in a blue case was included with the purchase. 

They have sold for as much as $ 40,000.00 at the height of the market

While viewing photomosaics by squinting the eyes is common today, the optic piece was included to help viewers see the Lincoln illusion from close range.

Due to the extensive counterfeiting and forgeries of Dalí's signature, Lincoln in Dalivision,  expert authentication is usually required to confirm the authenticity of this work. 

This piece has been fully authenticated and includes a certificate of authenticity.

Prices for authenticated works are often listed at prices ranging from $10,000 to $30,000 depending on condition.  

Since the print is 43 years old many that were exposed to sunlight or UV light and not protected have color loss and fading.

Lincoln in Dalivision  is often referred to as a "print" or "lithograph." However, neither of these are technically correct, as these terms have specific meanings when referring to original works of art that are created in limited editions. Lincoln in Dalivision  is truly a mixed media artwork. It is technically a  photolith  with original etched remarque (Torrents) and embossing. While the photolith  is from the painting, the etched remarque and embossing of Dali's naked wife Gala makes Lincoln in Dalivision  an original Dalí. Additionally, the signature of Dalí and the numbering of the limited editions also establishes these works as originals. Lincoln in Dalivision  is listed in Albert Field's The Official Catalog of Graphic Works of Salvador Dalí – authorized by Dalí  as an original work and is viewed as such by galleries worldwide.  It also appears in the DALI. Salvador Dali. Edited by Lutz W. Löpsinger and Ralf Michler. The Catalogue Raisonné of Etchings and Mixed-Media Prints. 1924-1980. .    

DALI BIOGRAPHY

Salvador Dalí From Wikipedia, the free encyclopedia Jump to navigation Jump to search For other uses, see  Salvador Dalí (disambiguation) . This article uses  Spanish naming customs : the first or paternal  family name   is  Dalí   and the second or maternal family name is  Domènech .
The Most Illustrious Salvador Dalí
Dalí photographed by Carl Van Vechten   in 1939
BornSalvador Domingo Felipe Jacinto Dalí i Domènech 11 May 1904 Figueres ,  Catalonia ,  Spain
Died23 January 1989  (aged 84) Figueres, Catalonia,  Spain
Resting placeCrypt   at  Dalí Theatre and Museum , Figueres
NationalitySpanish
EducationSan Fernando School of Fine Arts ,  Madrid , Spain
Known forPainting ,  drawing ,  photography ,sculpture ,  writing ,  film ,  jewelry
Notable work
  • The Persistence of Memory (1931)
  • Soft Construction with Boiled Beans (Premonition of Civil War)   (1936)
  • Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening (1944)
  • Galatea of the Spheres   (1952)
  • Crucifixion (Corpus Hypercubus)   (1954)
MovementCubism ,  Dada ,  Surrealism
Spouse(s) Gala Dalí   (Elena Ivanovna Diakonova) (m. 1934;  d. 1982)

Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Dalí de Púbol   (11 May 1904 – 23 January 1989), known professionally as  Salvador Dalí   (/ˈ d ɑː l i ,  d ɑː ˈ l iː / ,[1] [2]   Catalan:  [səlβəˈðo ðəˈli] ,  Spanish:  [salβaˈðoɾ ðaˈli] ), was a Spanish  Surrealist   painter born in  Figueres ,  Catalonia , Spain.

Dalí was a skilled  draftsman , best known for the striking and bizarre images in his work. His  painterly   skills are often attributed to the influence of  Renaissance   masters.[3] [4]   His best-known work,  The Persistence of Memory , was completed in August, 1931, and is one of the most recognisable Surrealist paintings. Dalí's expansive artistic repertoire included film, sculpture, and photography, at times in collaboration with a range of artists in a variety of media.

Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork.[5] [6]

Contents
  • 1 Biography
    • 1.1 Early life
    • 1.2 Madrid, Barcelona and Paris
    • 1.3 1929 to World War II
    • 1.4 World War II
    • 1.5 Later years in Spain
    • 1.6 Final years and death
      • 1.6.1 Exhumation
  • 2 Symbolism
    • 2.1 Science
  • 3 Endeavors outside painting
    • 3.1 Sculptures and other objects
    • 3.2 Theatre and film
    • 3.3 Fashion and photography
    • 3.4 Architecture
    • 3.5 Literary works
    • 3.6 Graphic arts
  • 4 Politics and personality
  • 5 Legacy
  • 6 Honours
  • 7 List of selected works
  • 8 Dalí museums and permanent exhibitions
    • 8.1 Current
    • 8.2 Former
  • 9 Major temporary exhibitions
  • 10 Gallery
  • 11 See also
  • 12 References
  • 13 Further reading
  • 14 External links

Biography [ edit ]

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

Salvador Dalí was born on 11 May 1904, at 8:45 am GMT,[7] [failed verification ]  on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the  Empordà   region , close to the French border in  Catalonia , Spain.[8]   Dalí's older brother, who had also been  named Salvador   (born 12 October 1901), had died of  gastroenteritis   nine months earlier, on 1 August 1903. His father, Salvador Rafael Aniceto Dalí Cusí (1872–1950)[9]   was a middle-class lawyer and notary,[10]   an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921),[11]   who encouraged her son's artistic endeavors.[12]   In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10).[13] [14]   Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[15]   to an "Arab lineage", claiming that his ancestors were descendants of the  Moors .[6] [16]

As a child Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,[17]   a concept which he came to believe.[18]   Of his brother, Dalí said, "[we] resembled each other like two drops of water, but we had different reflections."[19]   He "was probably a first version of myself but conceived too much in the absolute."[19]   Images of his long-dead brother would reappear embedded in his later works, including  Portrait of My Dead Brother   (1963).

Dalí also had a sister, Anna Maria, who was three years younger.[10]   In 1949, she published a book about her brother,  Dalí as Seen by His Sister .[20]

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.[citation needed ]

Dalí attended  drawing school . In 1916, he 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.[10]   The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1918,[21]   a site he would return to decades later.

On 6 February 1921, Dalí's mother died of  cancer of the uterus .[22]   Dalí was 16 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."[6] [23]   After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had great love and respect for his aunt.[10]

Madrid, Barcelona and Paris [ edit ] Dalí (left) and fellow  surrealist   artistMan Ray   in Paris on 16 June 1934

In 1922, Dalí moved into the  Residencia de Estudiantes   (Students' Residence) in  Madrid [10]   and studied at the  Real Academia de Bellas Artes de San Fernando . A lean 1.72 metres (5 ft  7  3⁄4  in) tall,[24]   Dalí already drew attention as an eccentric and  dandy . He had long hair and  sideburns , coat, stockings, and  knee-breeches   in the style of Englishaesthetes   of the late 19th century.

At the Residencia, he became close friends with (among others)  Pepín Bello ,  Luis Buñuel , and  Federico García Lorca . The friendship with Lorca had a strong element of mutual passion,[25]   but Dalí rejected the poet's sexual advances.[26]

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

It was his paintings in which he experimented with  Cubism , however, that earned him the most attention from his fellow students. Since there were no Cubist artists in Madrid at the time, his knowledge of Cubist art had come from magazine articles and a catalog given to him by Pichot.

Dalí, still unknown to the public, illustrated a book for the first time in 1924. It was a publication of the  Catalan   poem  Les bruixes deLlers   ("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.[27]

Dalí held his first solo exhibition at  Galeries Dalmau   in Barcelona, from 14 to 27 November 1925.[28] [29]   At the time Dalí was not yet immersed in the  Surrealist   style for which he would later become famous. The exhibition was well received by the public and critics. The following year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic  Sebastià Gasch  [es ] .[30] [31]

Dalí left the Academy in 1926, shortly before his final exams.[6]   His mastery of painting skills at that time was evidenced by his realistic  The Basket of Bread , painted in 1926.[32]   That same year, he made his first visit to Paris, where he met  Pablo Picasso , whom the young Dalí revered.[6]   Picasso had already heard favorable reports about Dalí from  Joan Miró , a fellow Catalan who introduced him to many Surrealist friends.[6]   As he developed his own style over the next few years, Dalí made a number of works strongly influenced by Picasso and Miró.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge  avant-garde .[33]   His classical influences included  Raphael ,  Bronzino ,  Francisco de Zurbarán ,  Vermeer   and  Velázquez .[34]   He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in  Barcelona   attracted much attention and a mixture of praise and puzzled debate from critics.

Dalí grew a flamboyant  moustache , influenced by 17th-century Spanish master painter  Diego Velázquez . This moustache became a well-known trademark of his appearance for the rest of his life.

1929 to World War II [ edit ] Salvador Dalí

In 1929, Dalí collaborated with surrealist film director  Luis Buñuel   on the short film  Un Chien Andalou   (An Andalusian Dog ). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts.[35]   Also, in August 1929, Dalí met his lifelong and primary  muse   and future wife  Gala ,[36]   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 his  paranoiac-critical method   of accessing the  subconscious   for greater artistic creativity.[10] [12]

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the  Sacred Heart of Jesus Christ , with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait".[6] [16]

Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be  disinherited , and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at  Port Lligat . He bought the place, and over the years enlarged it by buying the neighbouring fishermen cabins, gradually building his much beloved  villa   by the sea. Dalí's father would eventually relent and come to accept his son's companion.[37]

In 1931, Dalí painted one of his most famous works,  The Persistence of Memory ,[38]   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 other limp watches shown being devoured by ants.[39]

Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.[40]   They later remarried in a Church ceremony on 8 August 1958 at  Sant Martí Vell .[41]   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 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.[42]

Dalí was introduced to the United States by art dealer  Julien Levy   in 1934. The exhibition in New York of Dalí's works, including  Persistence of Memory , created an immediate sensation.  Social Register   listees feted him at a specially organized "Dalí Ball". He showed up wearing a glass case on his chest, which contained a brassiere.[43]   In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress  Caresse Crosby , the inventor of the brassiere. For their costumes, they dressed as the  Lindbergh baby   and his  kidnapper . The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act.[44]

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. 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".[45]   Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce  fascism .[46]   Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group.[47]   To this, Dalí retorted, "The difference between the surrealists and me is, I myself am surrealism" (la différence entre les surréalistes et moi, c'est que moi je suis surréaliste ).[48] [49]

In 1936, Dalí took part in the  London International Surrealist Exhibition . His lecture, titled  Fantômes paranoiaques authentiques , was delivered while wearing a deep-sea  diving suit   and helmet.[50]   He had arrived carrying a  billiard cue   and leading a pair of  Russian wolfhounds , and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind."[51]   In 1936, Dalí, aged 32, was featured on the cover of  Time   magazine.[6]

Also in 1936, at the premiere screening of  Joseph Cornell 's film  Rose Hobart   at Julien Levy's gallery in New York City, Dalí became famous for another incident. Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the  Museum of Modern Art , featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made", he said. "I never wrote it down or told anyone, but it is as if he had stolen it". Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!"[52]

In this period, Dalí's main patron in London was the 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 .[53]

Meanwhile, Spain was going through  a civil war   (1936–1939), with many artists taking a side or going into exile.

In 1938, Dalí met  Sigmund Freud   thanks to  Stefan Zweig . Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others that "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.[6]

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.[54] [55]   At the end of the 20th century, "La Pausa" was partially replicated at the  Dallas Museum of Art   to welcome the Reeves collection and part of Chanel's original furniture for the house.[56]

Also in 1938, Dalí unveiled  Rainy Taxi , a three-dimensional artwork, consisting of an actual automobile with two  mannequin   occupants. The piece was first displayed at the Galerie Beaux-Arts in Paris at theExposition Internationale du Surréalisme , organised by  André Breton   and  Paul Éluard . The Exposition was designed by artist  Marcel Duchamp , who also served as host.[57] [58] [59]

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, and live nude models in "costumes" made of fresh seafood, an event photographed by  Horst P. Horst ,  George Platt Lynes   and  Murray Korman . Like most attractions in the Amusements Area, an admission fee was charged.[60]

In 1939, André Breton coined the derogatory nickname "Avida Dollars", an  anagram   for "Salvador Dalí", a phonetic rendering of the French phrase  avide à dollars , meaning "eager for dollars".[61]   This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the  French Communist Party   at the time, expelled him from their movement.[6]   Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead.[62]   The Surrealist movement and various members thereof (such as  Ted Joans ) would continue to issue extremely harsh  polemics   against Dalí until the time of his death, and beyond.

World War II [ edit ]

In 1940, as  World War II   tore through Europe, Dalí and Gala retreated to the United States, where they lived for eight years splitting their time between New York and Monterey, California.[63]   They were able to escape because on June 20, 1940, they were issued visas by  Aristides de Sousa Mendes , Portuguese consul in Bordeaux, France. Salvador and Gala Dalí crossed into Portugal and subsequently sailed on theExcambion   from Lisbon to New York in August 1940. Dalí's arrival in New York was one of the catalysts in the development of that city as a world art center in the  post-war   years.[64]   After the move, Dalí returned to the practice of  Catholicism . "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes.[65]

Dalí worked prolifically in a variety of media during this period, designing jewelry, clothes, furniture, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display forBonwit Teller , he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window.[6]

Dali spent the winter of 1940–41 at Hampton Manor, the residence of bra designer and patron of the arts  Caresse Crosby , near Bowling Green in  Caroline County, Virginia . During his time there, he spent his time on various projects. He was described as a "showman" by residents in the local newspaper.[66]

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, in which he attacked some often-used surrealist techniques by proclaiming, "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college" (collage ). 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.[65]

In  The Secret Life , Dalí suggested that he had split with  Luis Buñuel   because the latter was a  Communist   and an  atheist . Buñuel was fired (or resigned) from his position at the  Museum of Modern Art   (MOMA), supposedly after  Cardinal Spellman   of New York went to see  Iris Barry , head of the film department at MOMA. Buñuel then went back to Hollywood where he worked in the dubbing department of  Warner Brothers from 1942 to 1946. In his 1982 autobiography  Mon Dernier soupir   (My Last Sigh , 1983), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.[67]

An Italian  friar , Gabriele Maria Berardi, claimed to have performed an  exorcism   on Dalí while he was in France in 1947.[68]   In 2005, a sculpture of Christ on the Cross was discovered in the friar's estate. It had been claimed that Dalí gave this work to his exorcist out of gratitude,[68]   and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.[68]

Later years in Spain [ edit ] 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, he would spend most of his time there painting, taking time off and spending winters with his wife in Paris and New York.[6] [37]   His acceptance and implicit embrace of  Franco's dictatorship   were strongly disapproved of by other Spanish artists and intellectuals who remained in exile.

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.[69]

Late in his career Dalí did not confine himself to painting, but explored many unusual or novel media and processes: for example, he experimented with  bulletist   artworks.[70] Many of his late works incorporated  optical illusions ,  negative space ,  visual puns   and  trompe l'œil   visual effects. He also experimented with  pointillism , enlarged  half-tone   dot grids (a technique which  Roy Lichtenstein   would later use), and  stereoscopic   images.[71]   He was among the first artists to employ  holography   in an artistic manner.[72]   In Dalí's later years, young artists such as  Andy Warhol   proclaimed him an important influence on  pop art .[73]

Dalí also developed a keen interest in natural science and  mathematics . This is manifested in several of his paintings, notably from the 1950s, in which he painted his subjects as composed of  rhinoceros horn   shapes. 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 .[74]   Dalí was also fascinated by  DNA   and the  tesseract   (a four-dimensional cube); an unfolding of a hypercube is featured in the painting  Crucifixion (Corpus Hypercubus) .

At some point, Dalí had a  glass floor   installed in a room near his studio in 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.[71] :17–18, 172   He also delighted in using the room for entertaining guests and visitors to his house and studio. In many of his paintings, Dalí used  anamorphosis , a form of eccentric and exaggerated perspective which distorts objects beyond recognition; however, when seen from a particular skewed viewpoint, a legible depiction emerges. He used the power of this technique to conceal "secret" or "forbidden" images in plain sight.[71] :20–25

Dalí's post-World War II period bore the hallmarks of technical virtuosity and an intensifying interest in optical effects, 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 .[75]   His Nuclear Mysticism works included such notable pieces as  La Gare de Perpignan   (1965) and  The Hallucinogenic Toreador   (1968–70).

In 1960, Dalí began work on his  Theatre and Museum   in his home town of  Figueres ; it was his largest single project and a main focus of his energy through 1974, when it opened. He continued to make additions through the mid-1980s.[76] [77]

Dalí continued to indulge in  publicity stunts   and self-consciously outrageous behavior. To promote his 1962 book  The World of Salvador Dalí , he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his  brain waves   and  blood pressure . He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.[6]

In 1968, Dalí filmed a humorous television advertisement for  Lanvin  [fr ]   chocolates.[78]   In this, he proclaims in French "Je suis fou du chocolat Lanvin!" ("I'm crazy about Lanvin chocolate!") while biting a morsel, causing him to become  cross-eyed   and his moustache to swivel upwards.[79]   Also in 1968, his status as an extravagant artist was put to use in a publicity campaign ("If you got it, flaunt it!") for  Braniff International Airlines .[80]

In 1969, he designed the  Chupa Chups   logo,[81] [82]   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.[83] [84]

In the television programme  Dirty Dalí: A Private View   broadcast on  Channel 4   on 3 June 2007, art critic  Brian Sewell   described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers.[85] [86]

Final years and death [ edit ] Church of  Sant Pere   in  Figueres , site of Dalí's baptism, first communion, and funeral Dalí's crypt at the  Dalí Theatre and Museum   in  Figueres   displays his name and preferred title

In 1968, Dalí had bought a  castle in Púbol   for Gala; and starting in 1971 she would retreat there alone for weeks at a time. By Dalí's own admission, he had agreed not to go there without written permission from his wife.[37]   His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.[6]

In 1980 at age 76, Dalí's health took a catastrophic turn. His right hand trembled terribly, with  Parkinson-like   symptoms. His near-senile   wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity.[13]

In 1982,  King Juan Carlos   bestowed on Dalí the title of  Marqués de Dalí de Púbol [87] [88]   (Marquis of Dalí de Púbol ) in the  nobility of Spain , hereby referring to  Púbol , the place where he lived. The title was in first instance hereditary, but on request of Dalí changed to life only in 1983.[87]

Gala died on 10 June 1982, at the age of 87. After Gala's death, Dalí lost much of his will to live. He deliberately  dehydrated   himself, possibly as a suicide attempt; there are also claims that he had tried to put himself into a state of  suspended animation   as he had read that some  microorganisms   could do.[89]   He moved from Figueres to  the castle in Púbol , which was the site of her death and her grave.[6] [37]

In May 1983, Dalí revealed what would be his last painting,  The Swallow's Tail , a work heavily influenced by the mathematical  catastrophe theory   of  René Thom .

In 1984, a fire broke out in his bedroom[90]   under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. Dalí was rescued by friend and collaborator  Robert Descharnes [91]   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.

There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals.[92] It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death.[6]   As a result, art dealers tend to be wary of late graphic works attributed to Dalí.[93]

In November 1988, Dalí entered the hospital with  heart failure ; a  pacemaker   had been implanted previously. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.[94]   Dalí gave the king a drawing,  Head of Europa , which would turn out to be Dalí's final drawing.

In early January 1989, Dali was returned to the Teatro-Museo and on his return he made his last public appearance. He was taken in a wheelchair to a room where press and TV were waiting and made a brief statement, saying:

When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.[95] [96]

On the morning of 23 January 1989, while his favorite record of  Tristan and Isolde   played, Dalí died of heart failure at the age of 84. He is buried in the  crypt   below the stage of his  Theatre and Museum   in Figueres. The location is across the street from the church of  Sant Pere , where he had his  baptism ,  first communion , and  funeral , and is only 0.45 kilometres (1,500 ft) from the house where he was born.[97]

The Gala-Salvador Dalí Foundation   currently serves as his official estate.[98]   The US  copyright   representative for the Gala-Salvador Dalí Foundation is the  Artists Rights Society .[99]

Exhumation [ edit ]

On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dali's body in order to obtain samples for a  paternity suit .[100]   Maria Pilar Abel Martínez, who works as a psychic and  tarot card reader[101]   from  Figueres ,  Girona , born in 1956, had stated that her mother, a maid, had been having an affair with the painter in 1955. Ms Abel claimed that her mother had told her that Dalí was her father. At the time of the alleged affair, Dalí was married to Gala.[102]   The exhumation took place on the evening of 20 July, and DNA was extracted.[103]   On Wednesday 6 September 2017 the Dali Foundation stated that the tests carried out proved conclusively that Dali and Martinez were not related.[104] [105]   Joan Manuel Sevillano, manager of the  Fundación Gala Salvador Dalí , denounced the exhumation as inappropriate.[106]

Symbolism [ edit ]

Dalí employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in  The Persistence of Memory   suggest  Einstein 's theory that  time is relative   and not fixed.[39]   The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of  Camembert cheese   on a hot August day.[107]

The  elephant   is also a recurring image in Dalí's works. It appeared in his 1944 work  Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening . The elephants, inspired by  Gian Lorenzo Bernini 's sculpture  base   in Rome of an  elephant carrying an ancient obelisk ,[108]   are portrayed "with long, multijointed, almost invisible legs of desire"[109]   along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space", one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure."[109]   "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." – Salvador Dalí, in Dawn Ades,  Dalí and Surrealism .

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;[110]   it appears in  The Great Masturbator   and  The Metamorphosis of Narcissus .  The Metamorphosis of Narcissus   also symbolized death and  petrification . There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat[111]   as well as at the  Dalí Theatre and Museum   in Figueres.

Various other animals appear throughout his work as well:  ants   point to death, decay, and immense sexual desire; the  snail   is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met  Sigmund Freud ); and  locusts   are a symbol of waste and fear.[110]

Both Dalí and his father enjoyed eating  sea urchins , freshly caught in the sea near Cadaqués. The  radial symmetry   of the sea urchin fascinated Dalí, and he adapted its form to many art works. Other foods also appear throughout his work.[112]

Science [ edit ]

References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of  quantum mechanics   in the twentieth century. Inspired by  Werner Heisenberg 'suncertainty principle , in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father  Freud . Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."[113]

In this respect,  The Disintegration of the Persistence of Memory , which appeared in 1954, in harking back to  The Persistence of Memory   and in portraying that painting in fragmentation and disintegration, summarizes Dalí's acknowledgment of the new science.[113]

Endeavors outside painting [ edit ]

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.

Sculptures and other objects [ edit ] Homage to Newton (1985), Bronze with dark patina.  UOB Plaza ,Singapore . Dalí's homage toIsaac Newton , with an open torso and suspended heart to indicate "open-heartedness," and an open head indicating "open-mindedness"[citation needed ]

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.[114]   "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."[115]   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 .[114]

The wood and satin  Mae West Lips Sofa   was shaped after the lips of actress  Mae West , whom Dalí apparently found fascinating.[36]   West was previously the subject of Dalí's 1935 painting,  The Face of Mae West which may be used as an apartment . The  Mae West Lips Sofa   currently resides at the Museum Boijmans Van Beuningen in Rotterdam. Another version is on display at the Dalí Theatre and Museum in Figueres, Catalonia, Spain.

Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry; many pieces are intricate, and some contain 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" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist."[116] The "Dalí – Joies" ("The Jewels of Dalí") collection is in the Dalí Theater Museum in Figueres, Catalonia, Spain.

Dalí took a stab at  industrial design   in the 1970s with a 500-piece run of the upscale  Suomi   tableware by  Timo Sarpaneva   that Dalí decorated for the German Rosenthal  porcelain maker's "Studio Linie".[117]

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

Theatre and film [ edit ]

In theatre, Dalí constructed the scenery for  Federico García Lorca 's 1927 romantic play  Mariana Pineda .[118]   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 .[119]   Bacchanale   was followed by set designs for  Labyrinth   in 1941 and  The Three-Cornered Hat   in 1949.[120]

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.[121]   Dalí was active in front of and behind the scenes in the film world.

He is 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. In  Un Chien Andalou , surreal imagery and irrational discontinuities in time and space produce a dreamlike quality.[122]   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".[123]

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".[124]

Dalí worked with other famous filmmakers, such as  Alfred Hitchcock . The most well-known of his film projects is probably the  dream sequence   in Hitchcock's  Spellbound , which delves into themes of  psychoanalysis . Hitchcock needed a dreamlike quality to his film, which dealt with the idea that a repressed experience can directly trigger a  neurosis , and he knew that Dalí's work would help create the atmosphere he wanted in his film.

Dalí also worked with  Walt Disney   on the short film production  Destino . Completed in 2003 by Baker Bloodworth and Walt's nephew  Roy E. Disney , it contains dreamlike images of strange figures flying and walking about. It is based on Mexican songwriter Armando Dominguez' song "Destino". When Disney hired Dalí to help produce the film in 1946, they were not prepared for the quantity of work that lay ahead. For eight months, they worked on it continuously, until their efforts had to stop when they realized they were in financial trouble. However, it was eventually finished 48 years later, and shown in various film festivals. The film consists of Dalí's artwork interacting with Disney's character animation.

In 1960 Dalí and the photographer  Philippe Halsman   made a documentary video called  Chaos and Creation , that showed him creating a painting.[125]

Dalí completed only one other film in his lifetime,  Impressions of Upper Mongolia   (1975), in which he narrated a story about an expedition in search of giant  hallucinogenic mushrooms . The imagery was based on microscopic  uric acid   stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.[126]

In the mid-1970s, film director  Alejandro Jodorowsky   cast Dali in the role of the Padishah Emperor in a production of  Dune , based on the novel by  Frank Herbert . According to the 2013 documentary on the film,Jodorowsky's Dune , Jodorowsky met Dali in the  King Cole Bar   in the  St. Regis hotel   in Manhattan to discuss the role. Dali expressed interest in the film but required as a condition of appearing that he be made the highest-paid actor in Hollywood. Jodorowsky accordingly cast Dali as the emperor, but he planned to cut Dali's screen time to mere minutes, promising he be the highest-paid actor on a per minute basis. The film was ultimately never made.[127]

In the year 1927, Dali began to write the libretto for an opera, which he called  Être Dieu   (To Be God ). He wrote this together with Federico Garcia Lorca one afternoon in the Café Regina Victoria in Madrid. In 1974, for a recording in Paris, the opera was adapted by the Spanish writer Manuel Vazquez Montalban, who wrote the libretto, while the music was created by Igor Wakhevitch. During the recording, however, Dali refused to follow the text written by Montalban, and instead, began to improvise in the belief that “Salvador Dali never repeats himself.”

Fashion and photography [ edit ] Dali Atomicus , photo by  Philippe Halsman   (1948), shown before support wires were removed from the image

Dalí built a repertoire in the  fashion   and  photography   businesses as well. His cooperation with Italian fashion designer  Elsa Schiaparelli   was well-known, when Dalí was commissioned to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat, and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. In 1950, Dalí created a special "costume for the year 2045" with  Christian Dior .[119]

Photographers with whom he collaborated include  Man Ray ,  Brassaï ,  Cecil Beaton , and  Philippe Halsman . With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including (with Halsman) the  Dalí Atomica   series (1948) – inspired by his painting  Leda Atomica   – which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air."[119]

One of Dalí's most unorthodox artistic creations may have been an entire  persona , in addition to his own. At a French  nightclub   in 1965, Dalí met  Amanda Lear , a  fashion model   then known as Peki D'Oslo.[128]   Lear became his protégée and muse,[128]   later writing about their affair in her authorized biography  My Life With Dalí   (1986).[129] Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the  disco -art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.[128]   She was referred to as Dalí's "Frankenstein",[130]   and some observers believed Lear's assumed name was a  pun   on the French phrase "L'Amant Dalí", or "Lover of Dalí". Lear took the place of an earlier muse,  Ultra Violet (Isabelle Collin Dufresne) , who had left Dalí's side to join  The Factory   of  Andy Warhol .[131]

Both former apprentices would go on to successfully promote their own careers in the arts. On April 10, 2005, they joined a panel discussion "Reminiscences of Dalí: A Conversation with Friends of the Artist" as part of a symposium "The Dalí Renaissance" for a major retrospective Dalí show at the  Philadelphia Museum of Art .[132]   Their conversation is recorded in the 236-page exhibition catalog  The Dalí Renaissance: New Perspectives on His Life and Art after 1940 .[133]

Architecture [ edit ] Dalí Theatre and Museum   inFigueres   also holds the crypt where Dalí is buried

Architectural achievements include his  Port Lligat   house near  Cadaqués , as well as his  Theatre and Museum   in  Figueres . A major work outside of Spain was the temporaryDream of Venus   surrealist pavilion at the  1939 New York World's Fair , which contained within it a number of unusual sculptures and statues, including live performers posing as statues.[60]

Literary works [ edit ]

Under 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 novel  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. The Comte de Grandsailles and Solange de Cléda pursue an awkward love affair, but property transactions, interwar political turmoil, the  French Resistance , his marriage to another woman and her responsibilities as a landowner and businesswoman drive them apart. It is variously set in  Paris , rural France,  Casablanca   in North Africa and  Palm Springs   in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured US fighter pilot. The novel concludes at the end of the  Second World War , with Solange dying before Grandsailles can return to his former property and reunite with her.[134]   The novel was written in New York, and translated by  Haakon Chevalier .

His other, nonfictional literary works include  The Secret Life of Salvador Dalí   (1942),  Diary of a Genius   (1952–63), and  Oui: The Paranoid-Critical Revolution   (1927–33).

Graphic arts [ edit ]

The artist worked extensively in the  graphic arts , producing many etchings and  lithographs . While his early work in printmaking is equal in quality to his important paintings, as he grew older he would sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.[93]

Politics and personality [ edit ] Dalí in the 1960s sporting his characteristic flamboyantmoustache . Photographed holding his pet  ocelot , Babou.

Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both  anarchism   and  communism ,[135]   though his writings tell 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.[27] [136]

As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of the  Trotskyist   writer  André Breton , who is said to have called Dalí in for questioning on his politics. In his 1970 book  Dalí by Dalí , Dalí declared himself to be both an anarchist and  monarchist .[137]

With the outbreak of the  Spanish Civil War   (1936–1939), Dalí fled from the fighting and refused to align himself with any group. He did the same during World War II (1939–1945), for which he was heavily criticized;  George Orwell   accused him of "scuttling off like a rat as soon as France is in danger" after Dalí had prospered in France during the pre-war years. "When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near", Orwell observed.[138]   In a notable 1944 review of Dalí's autobiography, Orwell wrote, "One ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being".[138]

After his return to Catalonia post World War II, Dalí moved closer to the  authoritarian   regime of  Francisco Franco . Some of Dalí's statements were supportive, congratulating Franco for his actions aimed "at clearing Spain of destructive forces".[136]   Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the  Republican   atrocities during the Spanish Civil War .[139] [140]   Dalí sent telegrams to Franco, praising him for signing  death warrants   for prisoners.[136]   He even met Franco personally,[141]   and painted a portrait of Franco's granddaughter.[142]

He also once sent a telegram praising the  Conducător ,  Romanian   Communist   leader  Nicolae Ceauşescu , for his adoption of a  scepter   as part of his regalia. The Romanian daily newspaper  Scînteia   published it, without suspecting its mocking aspect.[143]   One of Dalí's few possible bits of open disobedience was his continued praise of  Federico García Lorca   even in the years when Lorca's works were banned.[26] [failed verification ]

Dalí, a colorful and imposing presence with his ever–present long cape, walking stick, haughty expression, and upturned waxed moustache, was famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".[144]   In the 1960s, he gave the actress  Mia Farrow   a dead mouse in a bottle, hand-painted, which her mother, actress  Maureen O'Sullivan , demanded be removed from her house.[145]

Dali's religious views were a matter of interest. In interviews Dali revealed his mysticism. In his later years, while still remaining a Roman Catholic, Dalí also claimed to be an agnostic.[146]   In his 1942 autobiographyThe Secret Life of Salvador Dali , he sums up his life story with an impassioned defense of the Catholic Church and religion in general. In one passage he states "I believe, above all, in the real and unfathomable force of the philosophic Catholicism of France and in that of the militant Catholicism of Spain."[147]   Dali also had great respect for the Jesuit priest and philosopher  Teilhard de Chardin [148]   and was fascinated by hisOmega Point   theory (a theory wherein the universe evolves towards an ultimate state of complexity and spiritual consciousness).[149]   Dali's 1959 painting  The Ecumenical Council   is said to represent the "interconnectedness" of the  Omega Point .[150]

Dalí frequently traveled with his pet  ocelot   Babou, even bringing it aboard the luxury ocean liner  SS France .[151]   He was also known to avoid paying tabs at restaurants by drawing on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.[152]

Besides visual puns, Dalí shared in the surrealist delight in verbal puns, obscure allusions, and word games. He often spoke in a bizarre combination of French, Spanish, Catalan, and English which was sometimes amusing as well as arcane.

When interviewed by  Mike Wallace   on his  60 Minutes   television show, Dalí kept referring to himself in the  third person , as the "Divino Dalí" (Divine Dalí), and told the startled Wallace matter-of-factly that he did not believe in his death.[153]   On January 27, 1957, he was the mystery guest on the US panel show  What's My Line?   and signed the chalkboard with thick white paint.[154]   His answers were misleading and prompted guidance from host  John Daly .[155] [156]

Dali appeared in public on a number of occasions with an  anteater , notably on a lead in Paris in 1969 and on  The Dick Cavett Show   on March 6, 1970 when he carried a small anteater on-stage. On the show, he surprised fellow guest  Lillian Gish   by flinging the anteater onto her lap.[157]

Legacy [ edit ]

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".[61]

Salvador Dalí has been cited as a major inspiration by many modern artists, such as  Damien Hirst ,  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 and surreal. He has been portrayed on film by  Robert Pattinson   in  Little Ashes   (2008), and by  Adrien Brody   in  Midnight in Paris   (2011). He was also parodied in a series of painting skits on  Captain Kangaroo   as "Salvador Silly" (played by Cosmo Allegretti) and in a  Sesame Street   muppet skit as "Salvador Dada" (an orange gold Anything Muppet performed by  Jim Henson ).

The  Salvador Dalí Desert   in  Bolivia   and the  Dali crater   on the planet  Mercury   are named for him.

Heraldry of the 1st Marquis of Dalí de Púbol

Honours [ edit ]
  • 1964 : Knight Grand Cross of the  Order of Isabella the Catholic [158]
  • 1972 : Associate member of the  Royal Academy of Science, Letters and Fine Arts of Belgium [159]
  • 1981 : Knight Grand Cross of the  Order of Charles III [160]
  • 1982 : Created  1st Marqués de Dalí de Púbol , by  King Juan Carlos
  • Member of the  Legion of Honour
  • Associate member of the  Académie des Beaux-Arts   of the  Institut de France

  • Gala in the Window (1933),  Marbella

     
  • The Rainbow   (1972),  M.T. Abraham Foundation

     
  • Rinoceronte vestido con puntillas (1956),  Puerto José Banús

     
  • Plaza de Dalí (Dalí Square), Madrid

     
  • Perseo   (Perseus ), Marbella

     
  • Children at Dalí exhibition in  Sakıp Sabancı Museum , Istanbul

; background:none;">Galeries Dalmau  in Barcelona, from 14 to 27 November 1925.[28] [29]   At the time Dalí was not yet immersed in the  Surrealist   style for which he would later become famous. The exhibition was well received by the public and critics. The following year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic  Sebastià Gasch  [es ] .[30] [31]

Dalí left the Academy in 1926, shortly before his final exams.[6]   His mastery of painting skills at that time was evidenced by his realistic  The Basket of Bread , painted in 1926.[32]   That same year, he made his first visit to Paris, where he met  Pablo Picasso , whom the young Dalí revered.[6]   Picasso had already heard favorable reports about Dalí from  Joan Miró , a fellow Catalan who introduced him to many Surrealist friends.[6]   As he developed his own style over the next few years, Dalí made a number of works strongly influenced by Picasso and Miró.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge  avant-garde .[33]   His classical influences included  Raphael ,  Bronzino ,  Francisco de Zurbarán ,  Vermeer   and  Velázquez .[34]   He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in  Barcelona   attracted much attention and a mixture of praise and puzzled debate from critics.

Dalí grew a flamboyant  moustache , influenced by 17th-century Spanish master painter  Diego Velázquez . This moustache became a well-known trademark of his appearance for the rest of his life.

1929 to World War II [ edit ] Salvador Dalí

In 1929, Dalí collaborated with surrealist film director  Luis Buñuel   on the short film  Un Chien Andalou   (An Andalusian Dog ). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts.[35]   Also, in August 1929, Dalí met his lifelong and primary  muse   and future wife  Gala ,[36]   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 his  paranoiac-critical method   of accessing the  subconscious   for greater artistic creativity.[10] [12]

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the  Sacred Heart of Jesus Christ , with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait".[6] [16]

Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be  disinherited , and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at  Port Lligat . He bought the place, and over the years enlarged it by buying the neighbouring fishermen cabins, gradually building his much beloved  villa   by the sea. Dalí's father would eventually relent and come to accept his son's companion.[37]

In 1931, Dalí painted one of his most famous works,  The Persistence of Memory ,[38]   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 other limp watches shown being devoured by ants.[39]

Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.[40]   They later remarried in a Church ceremony on 8 August 1958 at  Sant Martí Vell .[41]   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 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.[42]

Dalí was introduced to the United States by art dealer  Julien Levy   in 1934. The exhibition in New York of Dalí's works, including  Persistence of Memory , created an immediate sensation.  Social Register   listees feted him at a specially organized "Dalí Ball". He showed up wearing a glass case on his chest, which contained a brassiere.[43]   In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress  Caresse Crosby , the inventor of the brassiere. For their costumes, they dressed as the  Lindbergh baby   and his  kidnapper . The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act.[44]

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. 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".[45]   Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce  fascism .[46]   Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group.[47]   To this, Dalí retorted, "The difference between the surrealists and me is, I myself am surrealism" (la différence entre les surréalistes et moi, c'est que moi je suis surréaliste ).[48] [49]

In 1936, Dalí took part in the  London International Surrealist Exhibition . His lecture, titled  Fantômes paranoiaques authentiques , was delivered while wearing a deep-sea  diving suit   and helmet.[50]   He had arrived carrying a  billiard cue   and leading a pair of  Russian wolfhounds , and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind."[51]   In 1936, Dalí, aged 32, was featured on the cover of  Time   magazine.[6]

Also in 1936, at the premiere screening of  Joseph Cornell 's film  Rose Hobart   at Julien Levy's gallery in New York City, Dalí became famous for another incident. Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the  Museum of Modern Art , featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made", he said. "I never wrote it down or told anyone, but it is as if he had stolen it". Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!"[52]

In this period, Dalí's main patron in London was the 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 .[53]

Meanwhile, Spain was going through  a civil war   (1936–1939), with many artists taking a side or going into exile.

In 1938, Dalí met  Sigmund Freud   thanks to  Stefan Zweig . Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others that "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.[6]

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.[54] [55]   At the end of the 20th century, "La Pausa" was partially replicated at the  Dallas Museum of Art   to welcome the Reeves collection and part of Chanel's original furniture for the house.[56]

Also in 1938, Dalí unveiled  Rainy Taxi , a three-dimensional artwork, consisting of an actual automobile with two  mannequin   occupants. The piece was first displayed at the Galerie Beaux-Arts in Paris at theExposition Internationale du Surréalisme , organised by  André Breton   and  Paul Éluard . The Exposition was designed by artist  Marcel Duchamp , who also served as host.[57] [58] [59]

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, and live nude models in "costumes" made of fresh seafood, an event photographed by  Horst P. Horst ,  George Platt Lynes   and  Murray Korman . Like most attractions in the Amusements Area, an admission fee was charged.[60]

In 1939, André Breton coined the derogatory nickname "Avida Dollars", an  anagram   for "Salvador Dalí", a phonetic rendering of the French phrase  avide à dollars , meaning "eager for dollars".[61]   This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the  French Communist Party   at the time, expelled him from their movement.[6]   Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead.[62]   The Surrealist movement and various members thereof (such as  Ted Joans ) would continue to issue extremely harsh  polemics   against Dalí until the time of his death, and beyond.

World War II [ edit ]

In 1940, as  World War II   tore through Europe, Dalí and Gala retreated to the United States, where they lived for eight years splitting their time between New York and Monterey, California.[63]   They were able to escape because on June 20, 1940, they were issued visas by  Aristides de Sousa Mendes , Portuguese consul in Bordeaux, France. Salvador and Gala Dalí crossed into Portugal and subsequently sailed on theExcambion   from Lisbon to New York in August 1940. Dalí's arrival in New York was one of the catalysts in the development of that city as a world art center in the  post-war   years.[64]   After the move, Dalí returned to the practice of  Catholicism . "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes.[65]

Dalí worked prolifically in a variety of media during this period, designing jewelry, clothes, furniture, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display forBonwit Teller , he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window.[6]

Dali spent the winter of 1940–41 at Hampton Manor, the residence of bra designer and patron of the arts  Caresse Crosby , near Bowling Green in  Caroline County, Virginia . During his time there, he spent his time on various projects. He was described as a "showman" by residents in the local newspaper.[66]

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, in which he attacked some often-used surrealist techniques by proclaiming, "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college" (collage ). 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.[65]

In  The Secret Life , Dalí suggested that he had split with  Luis Buñuel   because the latter was a  Communist   and an  atheist . Buñuel was fired (or resigned) from his position at the  Museum of Modern Art   (MOMA), supposedly after  Cardinal Spellman   of New York went to see  Iris Barry , head of the film department at MOMA. Buñuel then went back to Hollywood where he worked in the dubbing department of  Warner Brothers from 1942 to 1946. In his 1982 autobiography  Mon Dernier soupir   (My Last Sigh , 1983), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.[67]

An Italian  friar , Gabriele Maria Berardi, claimed to have performed an  exorcism   on Dalí while he was in France in 1947.[68]   In 2005, a sculpture of Christ on the Cross was discovered in the friar's estate. It had been claimed that Dalí gave this work to his exorcist out of gratitude,[68]   and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.[68]

Later years in Spain [ edit ] 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, he would spend most of his time there painting, taking time off and spending winters with his wife in Paris and New York.[6] [37]   His acceptance and implicit embrace of  Franco's dictatorship   were strongly disapproved of by other Spanish artists and intellectuals who remained in exile.

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.[69]

Late in his career Dalí did not confine himself to painting, but explored many unusual or novel media and processes: for example, he experimented with  bulletist   artworks.[70] Many of his late works incorporated  optical illusions ,  negative space ,  visual puns   and  trompe l'œil   visual effects. He also experimented with  pointillism , enlarged  half-tone   dot grids (a technique which  Roy Lichtenstein   would later use), and  stereoscopic   images.[71]   He was among the first artists to employ  holography   in an artistic manner.[72]   In Dalí's later years, young artists such as  Andy Warhol   proclaimed him an important influence on  pop art .[73]

Dalí also developed a keen interest in natural science and  mathematics . This is manifested in several of his paintings, notably from the 1950s, in which he painted his subjects as composed of  rhinoceros horn   shapes. 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 .[74]   Dalí was also fascinated by  DNA   and the  tesseract   (a four-dimensional cube); an unfolding of a hypercube is featured in the painting  Crucifixion (Corpus Hypercubus) .

At some point, Dalí had a  glass floor   installed in a room near his studio in 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.[71] :17–18, 172   He also delighted in using the room for entertaining guests and visitors to his house and studio. In many of his paintings, Dalí used  anamorphosis , a form of eccentric and exaggerated perspective which distorts objects beyond recognition; however, when seen from a particular skewed viewpoint, a legible depiction emerges. He used the power of this technique to conceal "secret" or "forbidden" images in plain sight.[71] :20–25

Dalí's post-World War II period bore the hallmarks of technical virtuosity and an intensifying interest in optical effects, 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 .[75]   His Nuclear Mysticism works included such notable pieces as  La Gare de Perpignan   (1965) and  The Hallucinogenic Toreador   (1968–70).

In 1960, Dalí began work on his  Theatre and Museum   in his home town of  Figueres ; it was his largest single project and a main focus of his energy through 1974, when it opened. He continued to make additions through the mid-1980s.[76] [77]

Dalí continued to indulge in  publicity stunts   and self-consciously outrageous behavior. To promote his 1962 book  The World of Salvador Dalí , he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his  brain waves   and  blood pressure . He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.[6]

In 1968, Dalí filmed a humorous television advertisement for  Lanvin  [fr ]   chocolates.[78]   In this, he proclaims in French "Je suis fou du chocolat Lanvin!" ("I'm crazy about Lanvin chocolate!") while biting a morsel, causing him to become  cross-eyed   and his moustache to swivel upwards.[79]   Also in 1968, his status as an extravagant artist was put to use in a publicity campaign ("If you got it, flaunt it!") for  Braniff International Airlines .[80]

In 1969, he designed the  Chupa Chups   logo,[81] [82]   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.[83] [84]

In the television programme  Dirty Dalí: A Private View   broadcast on  Channel 4   on 3 June 2007, art critic  Brian Sewell   described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers.[85] [86]

Final years and death [ edit ] Church of  Sant Pere   in  Figueres , site of Dalí's baptism, first communion, and funeral Dalí's crypt at the  Dalí Theatre and Museum   in  Figueres   displays his name and preferred title

In 1968, Dalí had bought a  castle in Púbol   for Gala; and starting in 1971 she would retreat there alone for weeks at a time. By Dalí's own admission, he had agreed not to go there without written permission from his wife.[37]   His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.[6]

In 1980 at age 76, Dalí's health took a catastrophic turn. His right hand trembled terribly, with  Parkinson-like   symptoms. His near-senile   wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity.[13]

In 1982,  King Juan Carlos   bestowed on Dalí the title of  Marqués de Dalí de Púbol [87] [88]   (Marquis of Dalí de Púbol ) in the  nobility of Spain , hereby referring to  Púbol , the place where he lived. The title was in first instance hereditary, but on request of Dalí changed to life only in 1983.[87]

Gala died on 10 June 1982, at the age of 87. After Gala's death, Dalí lost much of his will to live. He deliberately  dehydrated   himself, possibly as a suicide attempt; there are also claims that he had tried to put himself into a state of  suspended animation   as he had read that some  microorganisms   could do.[89]   He moved from Figueres to  the castle in Púbol , which was the site of her death and her grave.[6] [37]

In May 1983, Dalí revealed what would be his last painting,  The Swallow's Tail , a work heavily influenced by the mathematical  catastrophe theory   of  René Thom .

In 1984, a fire broke out in his bedroom[90]   under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. Dalí was rescued by friend and collaborator  Robert Descharnes [91]   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.

There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals.[92] It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death.[6]   As a result, art dealers tend to be wary of late graphic works attributed to Dalí.[93]

In November 1988, Dalí entered the hospital with  heart failure ; a  pacemaker   had been implanted previously. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.[94]   Dalí gave the king a drawing,  Head of Europa , which would turn out to be Dalí's final drawing.

In early January 1989, Dali was returned to the Teatro-Museo and on his return he made his last public appearance. He was taken in a wheelchair to a room where press and TV were waiting and made a brief statement, saying:

When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.[95] [96]

On the morning of 23 January 1989, while his favorite record of  Tristan and Isolde   played, Dalí died of heart failure at the age of 84. He is buried in the  crypt   below the stage of his  Theatre and Museum   in Figueres. The location is across the street from the church of  Sant Pere , where he had his  baptism ,  first communion , and  funeral , and is only 0.45 kilometres (1,500 ft) from the house where he was born.[97]

The Gala-Salvador Dalí Foundation   currently serves as his official estate.[98]   The US  copyright   representative for the Gala-Salvador Dalí Foundation is the  Artists Rights Society .[99]

Exhumation [ edit ]

On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dali's body in order to obtain samples for a  paternity suit .[100]   Maria Pilar Abel Martínez, who works as a psychic and  tarot card reader[101]   from  Figueres ,  Girona , born in 1956, had stated that her mother, a maid, had been having an affair with the painter in 1955. Ms Abel claimed that her mother had told her that Dalí was her father. At the time of the alleged affair, Dalí was married to Gala.[102]   The exhumation took place on the evening of 20 July, and DNA was extracted.[103]   On Wednesday 6 September 2017 the Dali Foundation stated that the tests carried out proved conclusively that Dali and Martinez were not related.[104] [105]   Joan Manuel Sevillano, manager of the  Fundación Gala Salvador Dalí , denounced the exhumation as inappropriate.[106]

Symbolism [ edit ]

Dalí employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in  The Persistence of Memory   suggest  Einstein 's theory that  time is relative   and not fixed.[39]   The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of  Camembert cheese   on a hot August day.[107]

The  elephant   is also a recurring image in Dalí's works. It appeared in his 1944 work  Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening . The elephants, inspired by  Gian Lorenzo Bernini 's sculpture  base   in Rome of an  elephant carrying an ancient obelisk ,[108]   are portrayed "with long, multijointed, almost invisible legs of desire"[109]   along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space", one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure."[109]   "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." – Salvador Dalí, in Dawn Ades,  Dalí and Surrealism .

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;[110]   it appears in  The Great Masturbator   and  The Metamorphosis of Narcissus .  The Metamorphosis of Narcissus   also symbolized death and  petrification . There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat[111]   as well as at the  Dalí Theatre and Museum   in Figueres.

Various other animals appear throughout his work as well:  ants   point to death, decay, and immense sexual desire; the  snail   is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met  Sigmund Freud ); and  locusts   are a symbol of waste and fear.[110]

Both Dalí and his father enjoyed eating  sea urchins , freshly caught in the sea near Cadaqués. The  radial symmetry   of the sea urchin fascinated Dalí, and he adapted its form to many art works. Other foods also appear throughout his work.[112]

Science [ edit ]

References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of  quantum mechanics   in the twentieth century. Inspired by  Werner Heisenberg 'suncertainty principle , in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father  Freud . Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."[113]

In this respect,  The Disintegration of the Persistence of Memory , which appeared in 1954, in harking back to  The Persistence of Memory   and in portraying that painting in fragmentation and disintegration, summarizes Dalí's acknowledgment of the new science.[113]

Endeavors outside painting [ edit ]

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.

Sculptures and other objects [ edit ] Homage to Newton (1985), Bronze with dark patina.  UOB Plaza ,Singapore . Dalí's homage toIsaac Newton , with an open torso and suspended heart to indicate "open-heartedness," and an open head indicating "open-mindedness"[citation needed ]

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.[114]   "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."[115]   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 .[114]

The wood and satin  Mae West Lips Sofa   was shaped after the lips of actress  Mae West , whom Dalí apparently found fascinating.[36]   West was previously the subject of Dalí's 1935 painting,  The Face of Mae West which may be used as an apartment . The  Mae West Lips Sofa   currently resides at the Museum Boijmans Van Beuningen in Rotterdam. Another version is on display at the Dalí Theatre and Museum in Figueres, Catalonia, Spain.

Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry; many pieces are intricate, and some contain 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" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist."[116] The "Dalí – Joies" ("The Jewels of Dalí") collection is in the Dalí Theater Museum in Figueres, Catalonia, Spain.

Dalí took a stab at  industrial design   in the 1970s with a 500-piece run of the upscale  Suomi   tableware by  Timo Sarpaneva   that Dalí decorated for the German Rosenthal  porcelain maker's "Studio Linie".[117]

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

Theatre and film [ edit ]

In theatre, Dalí constructed the scenery for  Federico García Lorca 's 1927 romantic play  Mariana Pineda .[118]   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 .[119]   Bacchanale   was followed by set designs for  Labyrinth   in 1941 and  The Three-Cornered Hat   in 1949.[120]

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.[121]   Dalí was active in front of and behind the scenes in the film world.

He is 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. In  Un Chien Andalou , surreal imagery and irrational discontinuities in time and space produce a dreamlike quality.[122]   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".[123]

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".[124]

Dalí worked with other famous filmmakers, such as  Alfred Hitchcock . The most well-known of his film projects is probably the  dream sequence   in Hitchcock's  Spellbound , which delves into themes of  psychoanalysis . Hitchcock needed a dreamlike quality to his film, which dealt with the idea that a repressed experience can directly trigger a  neurosis , and he knew that Dalí's work would help create the atmosphere he wanted in his film.

Dalí also worked with  Walt Disney   on the short film production  Destino . Completed in 2003 by Baker Bloodworth and Walt's nephew  Roy E. Disney , it contains dreamlike images of strange figures flying and walking about. It is based on Mexican songwriter Armando Dominguez' song "Destino". When Disney hired Dalí to help produce the film in 1946, they were not prepared for the quantity of work that lay ahead. For eight months, they worked on it continuously, until their efforts had to stop when they realized they were in financial trouble. However, it was eventually finished 48 years later, and shown in various film festivals. The film consists of Dalí's artwork interacting with Disney's character animation.

In 1960 Dalí and the photographer  Philippe Halsman   made a documentary video called  Chaos and Creation , that showed him creating a painting.[125]

Dalí completed only one other film in his lifetime,  Impressions of Upper Mongolia   (1975), in which he narrated a story about an expedition in search of giant  hallucinogenic mushrooms . The imagery was based on microscopic  uric acid   stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.[126]

In the mid-1970s, film director  Alejandro Jodorowsky   cast Dali in the role of the Padishah Emperor in a production of  Dune , based on the novel by  Frank Herbert . According to the 2013 documentary on the film,Jodorowsky's Dune , Jodorowsky met Dali in the  King Cole Bar   in the  St. Regis hotel   in Manhattan to discuss the role. Dali expressed interest in the film but required as a condition of appearing that he be made the highest-paid actor in Hollywood. Jodorowsky accordingly cast Dali as the emperor, but he planned to cut Dali's screen time to mere minutes, promising he be the highest-paid actor on a per minute basis. The film was ultimately never made.[127]

In the year 1927, Dali began to write the libretto for an opera, which he called  Être Dieu   (To Be God ). He wrote this together with Federico Garcia Lorca one afternoon in the Café Regina Victoria in Madrid. In 1974, for a recording in Paris, the opera was adapted by the Spanish writer Manuel Vazquez Montalban, who wrote the libretto, while the music was created by Igor Wakhevitch. During the recording, however, Dali refused to follow the text written by Montalban, and instead, began to improvise in the belief that “Salvador Dali never repeats himself.”

Fashion and photography [ edit ] Dali Atomicus , photo by  Philippe Halsman   (1948), shown before support wires were removed from the image

Dalí built a repertoire in the  fashion   and  photography   businesses as well. His cooperation with Italian fashion designer  Elsa Schiaparelli   was well-known, when Dalí was commissioned to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat, and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. In 1950, Dalí created a special "costume for the year 2045" with  Christian Dior .[119]

Photographers with whom he collaborated include  Man Ray ,  Brassaï ,  Cecil Beaton , and  Philippe Halsman . With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including (with Halsman) the  Dalí Atomica   series (1948) – inspired by his painting  Leda Atomica   – which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air."[119]

One of Dalí's most unorthodox artistic creations may have been an entire  persona , in addition to his own. At a French  nightclub   in 1965, Dalí met  Amanda Lear , a  fashion model   then known as Peki D'Oslo.[128]   Lear became his protégée and muse,[128]   later writing about their affair in her authorized biography  My Life With Dalí   (1986).[129] Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the  disco -art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.[128]   She was referred to as Dalí's "Frankenstein",[130]   and some observers believed Lear's assumed name was a  pun   on the French phrase "L'Amant Dalí", or "Lover of Dalí". Lear took the place of an earlier muse,  Ultra Violet (Isabelle Collin Dufresne) , who had left Dalí's side to join  The Factory   of  Andy Warhol .[131]

Both former apprentices would go on to successfully promote their own careers in the arts. On April 10, 2005, they joined a panel discussion "Reminiscences of Dalí: A Conversation with Friends of the Artist" as part of a symposium "The Dalí Renaissance" for a major retrospective Dalí show at the  Philadelphia Museum of Art .[132]   Their conversation is recorded in the 236-page exhibition catalog  The Dalí Renaissance: New Perspectives on His Life and Art after 1940 .[133]

Architecture [ edit ] Dalí Theatre and Museum   inFigueres   also holds the crypt where Dalí is buried

Architectural achievements include his  Port Lligat   house near  Cadaqués , as well as his  Theatre and Museum   in  Figueres . A major work outside of Spain was the temporaryDream of Venus   surrealist pavilion at the  1939 New York World's Fair , which contained within it a number of unusual sculptures and statues, including live performers posing as statues.[60]

Literary works [ edit ]

Under 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 novel  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. The Comte de Grandsailles and Solange de Cléda pursue an awkward love affair, but property transactions, interwar political turmoil, the  French Resistance , his marriage to another woman and her responsibilities as a landowner and businesswoman drive them apart. It is variously set in  Paris , rural France,  Casablanca   in North Africa and  Palm Springs   in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured US fighter pilot. The novel concludes at the end of the  Second World War , with Solange dying before Grandsailles can return to his former property and reunite with her.[134]   The novel was written in New York, and translated by  Haakon Chevalier .

His other, nonfictional literary works include  The Secret Life of Salvador Dalí   (1942),  Diary of a Genius   (1952–63), and  Oui: The Paranoid-Critical Revolution   (1927–33).

Graphic arts [ edit ]

The artist worked extensively in the  graphic arts , producing many etchings and  lithographs . While his early work in printmaking is equal in quality to his important paintings, as he grew older he would sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.[93]

Politics and personality [ edit ] Dalí in the 1960s sporting his characteristic flamboyantmoustache . Photographed holding his pet  ocelot , Babou.

Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both  anarchism   and  communism ,[135]   though his writings tell 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.[27] [136]

As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of the  Trotskyist   writer  André Breton , who is said to have called Dalí in for questioning on his politics. In his 1970 book  Dalí by Dalí , Dalí declared himself to be both an anarchist and  monarchist .[137]

With the outbreak of the  Spanish Civil War   (1936–1939), Dalí fled from the fighting and refused to align himself with any group. He did the same during World War II (1939–1945), for which he was heavily criticized;  George Orwell   accused him of "scuttling off like a rat as soon as France is in danger" after Dalí had prospered in France during the pre-war years. "When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near", Orwell observed.[138]   In a notable 1944 review of Dalí's autobiography, Orwell wrote, "One ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being".[138]

After his return to Catalonia post World War II, Dalí moved closer to the  authoritarian   regime of  Francisco Franco . Some of Dalí's statements were supportive, congratulating Franco for his actions aimed "at clearing Spain of destructive forces".[136]   Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the  Republican   atrocities during the Spanish Civil War .[139] [140]   Dalí sent telegrams to Franco, praising him for signing  death warrants   for prisoners.[136]   He even met Franco personally,[141]   and painted a portrait of Franco's granddaughter.[142]

He also once sent a telegram praising the  Conducător ,  Romanian   Communist   leader  Nicolae Ceauşescu , for his adoption of a  scepter   as part of his regalia. The Romanian daily newspaper  Scînteia   published it, without suspecting its mocking aspect.[143]   One of Dalí's few possible bits of open disobedience was his continued praise of  Federico García Lorca   even in the years when Lorca's works were banned.[26] [failed verification ]

Dalí, a colorful and imposing presence with his ever–present long cape, walking stick, haughty expression, and upturned waxed moustache, was famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".[144]   In the 1960s, he gave the actress  Mia Farrow   a dead mouse in a bottle, hand-painted, which her mother, actress  Maureen O'Sullivan , demanded be removed from her house.[145]

Dali's religious views were a matter of interest. In interviews Dali revealed his mysticism. In his later years, while still remaining a Roman Catholic, Dalí also claimed to be an agnostic.[146]   In his 1942 autobiographyThe Secret Life of Salvador Dali , he sums up his life story with an impassioned defense of the Catholic Church and religion in general. In one passage he states "I believe, above all, in the real and unfathomable force of the philosophic Catholicism of France and in that of the militant Catholicism of Spain."[147]   Dali also had great respect for the Jesuit priest and philosopher  Teilhard de Chardin [148]   and was fascinated by hisOmega Point   theory (a theory wherein the universe evolves towards an ultimate state of complexity and spiritual consciousness).[149]   Dali's 1959 painting  The Ecumenical Council   is said to represent the "interconnectedness" of the  Omega Point .[150]

Dalí frequently traveled with his pet  ocelot   Babou, even bringing it aboard the luxury ocean liner  SS France .[151]   He was also known to avoid paying tabs at restaurants by drawing on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.[152]

Besides visual puns, Dalí shared in the surrealist delight in verbal puns, obscure allusions, and word games. He often spoke in a bizarre combination of French, Spanish, Catalan, and English which was sometimes amusing as well as arcane.

When interviewed by  Mike Wallace   on his  60 Minutes   television show, Dalí kept referring to himself in the  third person , as the "Divino Dalí" (Divine Dalí), and told the startled Wallace matter-of-factly that he did not believe in his death.[153]   On January 27, 1957, he was the mystery guest on the US panel show  What's My Line?   and signed the chalkboard with thick white paint.[154]   His answers were misleading and prompted guidance from host  John Daly .[155] [156]

Dali appeared in public on a number of occasions with an  anteater , notably on a lead in Paris in 1969 and on  The Dick Cavett Show   on March 6, 1970 when he carried a small anteater on-stage. On the show, he surprised fellow guest  Lillian Gish   by flinging the anteater onto her lap.[157]

Legacy [ edit ]

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".[61]

Salvador Dalí has been cited as a major inspiration by many modern artists, such as  Damien Hirst ,  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 and surreal. He has been portrayed on film by  Robert Pattinson   in  Little Ashes   (2008), and by  Adrien Brody   in  Midnight in Paris   (2011). He was also parodied in a series of painting skits on  Captain Kangaroo   as "Salvador Silly" (played by Cosmo Allegretti) and in a  Sesame Street   muppet skit as "Salvador Dada" (an orange gold Anything Muppet performed by  Jim Henson ).

The  Salvador Dalí Desert   in  Bolivia   and the  Dali crater   on the planet  Mercury   are named for him.

Heraldry of the 1st Marquis of Dalí de Púbol

Honours [ edit ]
  • 1964 : Knight Grand Cross of the  Order of Isabella the Catholic [158]
  • 1972 : Associate member of the  Royal Academy of Science, Letters and Fine Arts of Belgium [159]
  • 1981 : Knight Grand Cross of the  Order of Charles III [160]
  • 1982 : Created  1st Marqués de Dalí de Púbol , by  King Juan Carlos
  • Member of the  Legion of Honour
  • Associate member of the  Académie des Beaux-Arts   of the  Institut de France

  • Gala in the Window (1933),  Marbella

     
  • The Rainbow   (1972),  M.T. Abraham Foundation

     
  • Rinoceronte vestido con puntillas (1956),  Puerto José Banús

     
  • Plaza de Dalí (Dalí Square), Madrid

     
  • Perseo   (Perseus ), Marbella

     
  • Children at Dalí exhibition in  Sakıp Sabancı Museum , Istanbul

  • Condition: Used
  • Condition: Great condition. Bright sharp colors. Full sheet. Embossed and fully authenticated.
  • Artist: Salvador Dalí
  • Unit of Sale: Single-Piece Work
  • Edition Size: 350 +
  • Signed By: The Artist in Pencil
  • Size: Medium (up to 36in.)
  • Date of Creation: 1970-1989
  • Region of Origin: & USA
  • Framing: Matted & Framed
  • Listed By: Dealer or Reseller
  • Year of Production: 1977
  • Width (Inches): 17
  • Style: Surealism
  • Features: Signed
  • Unit Quantity: 1
  • Culture: Spanish
  • Handmade: Yes
  • Print Type: Lithograph, Etching, Integlio
  • Time Period Produced: 1970-1979
  • Image Orientation: Portrait
  • Signed: Signed
  • Color: Multi-Color
  • Period: 1970's
  • Title: Gallery COA and appraisal
  • Material: Paper, Photolith, original etching with embossing
  • Original/Licensed Reprint: Limited edition hand signed mixed media lithograph
  • Subject: Religious
  • Print Surface: Paper
  • Type: Print
  • Edition Type: Limited Edition
  • Height (Inches): 24
  • Theme: Americana
  • Original/Reproduction: Original Print
  • Production Technique: Etching, Potolithograph, embossing

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