http://www.mir dali.ru/biography.html
Biography of Salvador Dali see also Gala Dali All books about Salvador Dali A lot is known about Salvador Dali, but even more remains unknown.
Being a narcissistic egocentrist, a real narcissist, the artist talked a lot about himself, published diaries, biographies, wrote many poems, articles and other literary works, but all this only thickened the fog around his life.
Sometimes it is simply impossible to distinguish the truth from deliberate lies in the name of advertising.
With his own hands, Salvador Dali created a myth about himself.
And, as you know, legends are just legends in which the truth is dissolved in fiction.
the Spanish master defines the method he invented as "paranoid critical activity".
Dali's break with the Surrealists was also facilitated by his delusional political statements.
His admiration for Adolf Hitler and his monarchical tendencies were at odds with Breton's ideas.
Dali's final break with the Breton group takes place in 1939.
The father, dissatisfied with his son's connection with Gala Eluard, forbade Dali to appear in his house, and thus initiated a conflict between them.
According to his subsequent stories, the artist, tormented by remorse, cut off all his hair and buried it in his beloved Kadakes. "
...
A few days later I received a letter from my father, who informed me that I was finally expelled from the family...
My first reaction to the letter was to cut off my hair.
But I did it differently: I shaved my head, then buried my hair in the ground, sacrificing it along with the empty shells of sea urchins eaten at dinner."
Almost without money, Dali and Gala moved to a small house in a fishing village in the Port of Ligat, where they found a shelter.
There, in seclusion, they spent many hours together, and Dali worked hard to earn money, because even though he was already recognized by that time, he was still struggling to make ends meet.
At that time, Dali began to become increasingly involved in surrealism, his works were now significantly different even from those abstract paintings that he had painted in the early twenties.
The main theme for many of his works is now the confrontation with his father.
The image of a deserted beach was firmly planted in Dali's mind at that time.
The artist painted a deserted beach and rocks in Cadaques without any specific thematic focus.
As he claimed later, the void was filled for him when he saw a piece of camembert cheese.
The cheese became soft and began to melt on the plate.
This sight caused a certain image in the artist's subconscious, and he began to fill the landscape with melting clocks, thus creating one of the most powerful images of our time.
Dali called the picture "The Permanence of Memory". "
...Having decided to write a clock, I wrote them soft.
It was one evening, I was tired, I had a migraine an extremely rare malaise for me.
We were supposed to go to the cinema with friends, but at the last moment I decided to stay at home.
Gala will go with them, and I will go to bed early.
We ate a very delicious cheese, then I was left alone, sitting with my elbows on the table, and thinking about how" super soft " melted cheese is.
I got up and went to the workshop to take a look at my work, as usual.
The picture I was going to paint was a landscape of the surroundings of Port Lligat, rocks, as if illuminated by a soft evening light.
In the foreground, I sketched the chopped trunk of a leafless olive tree.
This landscape is the basis for a canvas with some idea, but what?
I needed a wonderful image, but I did not find it.
I went to turn off the light, and when I came out, I literally "saw" the solution: two pairs of soft watches, one hanging pitifully from an olive branch.
Despite the migraine, I prepared a palette and got to work.
Two hours later, when Gala returned from the cinema, the picture, which was supposed to become one of the most famous, was finished.
"The Persistence of Memory was completed in 1931 and has become a symbol of the modern concept of the relativity of time.
A year after the exhibition at the Pierre Colet Gallery in Paris, Dali's most famous painting was bought by the New York Museum of Modern Art.
Unable to visit his father's house in Cadaques because of his father's ban, Dali built a new house on the seashore, near the Port of Lligata, with the money received from the patron of the arts, Viscount Charles de Noeil, for the sale of paintings.
Now Dali was more convinced than ever that his goal was to learn to write like the great masters of the Renaissance, and that with the help of their technique he would be able to express the ideas that prompted him to draw.
Thanks to meetings with Bunuel and numerous disputes with Lorca, who spent a lot of time with him in Cadaques, new broad ways of thinking opened up for Dali.
By 1934, Gala had already divorced her husband, and Dali could marry her.
The amazing feature of this married couple was that they felt and understood each other.
Gala, in the literal sense, lived the life of Dali, and he, in turn, idolized her, admired her.
The outbreak of the civil war prevented Dali's return to Spain in 1936.
Dali's fear for the fate of his country and its people was reflected in his paintings painted during the war.
Among them is the tragic and terrifying "Premonition of the Civil War" in 1936.
Dali liked to emphasize that this painting was a test of the genius of his intuition, since it was completed 6 months before the outbreak of the Spanish Civil War in July 1936.
Between 1936 and 1937, Salvador Dali painted one of the most famous paintings, "The Metamorphosis of Narcissus".
At the same time, his literary work entitled "Metamorphoses of Narcissus.
By the way, earlier (1935) in the work "The Conquest of the Irrational" Dali formulated the theory of the paranoid critical method.
In this method, I used various forms of irrational associations, especially images that change depending on visual perception, so that, for example, a group of fighting soldiers can suddenly turn into a female face.
A distinctive feature of Dali was that, no matter how bizarre his images were, they were always painted in an impeccable "academic" manner, with that photographic accuracy that most avant garde artists considered old fashioned.
Although Dali often expressed the idea that the events of world life, such as wars, had little to do with the art world, he was greatly concerned about the events in Spain.
In 1938, when the war reached its climax, "Spain"was written.
During the Spanish Civil War, Dali and Gala visited Italy to see the works of Renaissance artists that Dali most admired.
They also visited Sicily.
This journey inspired the artist to write "African Impressions" in 1938.
In 1940, Dali and Gala left France on a transatlantic flight, ordered and paid for by Picasso, just a few weeks before the Fascist invasion.
They stayed in the States for eight years.
It is there that Salvador Dali writes, probably one of his best books — a biography — "The Secret life of Salvador Dali, written by himself".
When this book was published in 1942, it immediately attracted serious criticism from the press and supporters of the Puritan society.
During the years spent by Gala and Dali in America, Dali made a fortune.
At the same time, according to some critics, he paid for his reputation as an artist.
Among the artistic intelligentsia, his extravagances were considered as antics in order to attract attention to himself and his work.
And the traditional manner of Dali's writing was considered unsuitable for the twentieth century (at that time, artists were busy searching for a new language to express new ideas born in modern society).
During his stay in America, Dali works as a jeweler, designer, photojournalist, illustrator, portrait painter, decorator, window decorator, makes decorations for the Hitchcock film The House of Dr. Edwards, distributes the newspaper "Dali News" (in which, in particular, the Hieroglyphic interpretation and psychoanalytic analysis of Salvador Dali's mustache is printed).
At the same time, he is writing the novel "Hidden Faces".
Its efficiency is amazing.
His texts, films, installations, photo reports and ballet productions are distinguished by irony and paradox, fused into a single whole in the same peculiar manner that is characteristic of his painting.
Despite the monstrous eclecticism, the combination of the unconnected, the mixing (obviously deliberate) of soft and hard stylistics his compositions are built according to the rules of academic art.
The cacophony of subjects (deformed objects, distorted images, fragments of the human body, etc.) is "pacified", harmonized by jewelry techniques that reproduce the texture of museum paintings.
A new vision of the world was born in Dali after the explosion over Hiroshima on August 6, 1945.
Having experienced a deep impression of the discoveries that led to the creation of the atomic bomb, the artist wrote a whole series of paintings dedicated to the atom (for example, "Splitting the Atom", 1947).
But nostalgia for the motherland takes its toll and in 1948 they returned to Spain.
While in Port Lligate, Dali turns to religious fantasy themes in his creations.
On the eve of the Cold War, Dali develops a theory of "atomic art" published in the same year in the "Mystical Manifesto".
Dali's goal is to convey to the viewer the idea of the permanence of spiritual existence even after the disappearance of matter ("Raphael's Exploding Head", 1951).
The fragmented forms in this picture, as well as in others written during this period, are rooted in Dali's interest in nuclear physics.
The head looks like one of Raphael's Madonnas - images that are classically clear and calm; at the same time, it includes the dome of the Roman Pantheon with a stream of light falling inside.
Both images of horsho are distinguishable, despite the explosion that breaks the entire structure into small fragments in the shape of a rhinoceros horn.
These studies culminated in the "Galatea of Spheres", 1952, where the head of the Gala consists of rotating spheres.
The rhinoceros horn became a new symbol for Dali, most fully embodied by him in the painting "The Rhinoceros Like Figure of Ilissa Phidias", 1954.
The painting refers to a time that Dali called " almost divine in the "strict period of the rhinoceros horn", arguing that the bend of this horn is the only absolutely accurate logarithmic spiral in nature, and therefore the only perfect form.
In the same year, he also painted the picture "A young virgin, self sodomized by her own chastity".
The painting depicted a naked woman being threatened by several rhinoceros horns.
Dali was fascinated by the new ideas of the theory of relativity.
This prompted him to return to the" Permanence of Memory " of 1931.
Now,in The Disintegration of the Permanence of Memory, 1952-54, Dali depicted his soft clock below sea level, where stones like bricks stretch into perspective.
The memory itself was decaying, since time no longer existed in the meaning that Dali attached to it.
His international fame continued to grow, based both on his brightness and his flair for public taste, and on his incredible fruitfulness in painting, graphic works and book illustrations, as well as as a designer in jewelry, clothing, costumes for the stage, store interiors.
He continued to surprise the audience with his extravagant appearances.
For example, in Rome, he appeared in a "Metaphysical Cube" (a simple white box covered with scientific icons).
Most of the spectators who came to see Dali's performances were simply attracted by an eccentric celebrity.
In 1959, Dali and Gala really set up their house in Port Lligate.
By that time, no one could doubt the genius of the great artist.
His paintings were bought for a lot of money by fans and lovers of luxury.
Huge canvases painted by Dali in the 60s were estimated at huge sums.
Many millionaires considered it chic to have paintings by Salvador Dali in their collection.
In 1965, Dali met a student of an art college, a part time model, nineteen year old Amanda Lear, a future pop star.
A couple of weeks after their meeting in Paris, when Amanda was returning home to London, Dali solemnly announced: "Now we will always be together."
And for the next eight years, they really almost never parted.
In addition, their union was blessed by Gala herself.
Dali's muse calmly gave her husband into the caring hands of a young girl, knowing well that Dali will never leave her and to no one.
There was no intimate relationship in the traditional sense of the word between him and Amanda.
Dali could only look at it and enjoy it.
Amanda spent several consecutive seasons in Cadaques every summer.
Dali, lounging in a chair, was enjoying the beauty of his nymph.
Dali was afraid of physical contacts, considering them too rude and mundane, but visual eroticism brought him real pleasure.
He could watch Amanda wash endlessly, so when they stayed in hotels, they often booked rooms with connecting baths.
Everything was going great, but when Amanda decided to step out of Dali's shadow and pursue her own career, their lovingly friendly alliance collapsed.
Dali did not forgive her for the success that had befallen her.
Geniuses do not like when something that belongs to them completely suddenly floats out of their hands.
And someone else's success is an unbearable torment for them.
How is it possible, his "baby" (despite the fact that Amanda's height is 176 cm) allowed herself to become independent and successful!
They hardly spoke for a long time, seeing each other only in 1978 at Christmas in Paris.
The next day, Gala called Amanda and asked her to come to her urgently.
When Amanda appeared at her place, she saw that an open Bible was lying in front of Gala and there was an icon of the Kazan Mother of God, taken from Russia, right next to it.
"Swear to me on the Bible," the 84 — year old Gala sternly ordered, that when I am gone, you will marry Dali.
I canot die leaving him unattended."
Without hesitation, Amanda swore.
A year later, she married the Marquis of Allen Philip Malagnac.
Dali refused to accept the newlyweds, and Gala did not talk to her again until her death.
Starting around 1970, Dali's health began to deteriorate.
Although his creative energy did not decrease, thoughts of death and immortality began to bother him.
He believed in the possibility of immortality, including the immortality of the body, and explored ways to preserve the body through freezing and DNA transplantation in order to be born again.
However, more important was the preservation of the works, which became his main project.
He put all his energy into it.
The artist came up with the idea to build a museum for his works.
Soon he took up the reconstruction of the theater in Figueres, his homeland, which was badly destroyed during the Spanish Civil War.
A giant geodesic dome was erected over the stage.
The auditorium was cleared and divided into sectors in which his works of various genres could be presented, including the bedroom of Mae West and large paintings such as "The Hallucinogenic Bullfighter".
Dali painted the entrance foyer himself, depicting himself and Gala washing gold in Figueres, with their legs hanging from the ceiling.
The salon was named the Palace of the Winds, after the poem of the same name, which tells the legend of the east wind, whose love married and lives in the west, so whenever he approaches her, he is forced to turn, while his tears fall to the ground.
This legend was very much liked by Dali, a great mystic who dedicated another part of his museum to eroticism.
As he often liked to emphasize, eroticism differs from pornography in that the first brings happiness to everyone, and the second brings only failures.
Many other works and other trinkets were exhibited in the Dali Theater Museum.
The salon opened in September 1974 and looked not so much like a museum as a bazaar.
There, among other things, were the results of Dali's experiments with holography, from which he hoped to create global three dimensional images.
(His holograms were first exhibited at the Knedler Gallery in New York in 1972.
He stopped experimenting in 1975.)
In addition, the Dali Theater — Museum exhibits double spectroscopic paintings depicting a naked Gala against the background of a painting by Claude Lorain and other art objects created by Dali.
Learn more about the Theater Museum.
In 1968-1970, the painting "Hallucinogenic Bullfighter" was created — a masterpiece of metamorphism.
The artist himself called this huge canvas "the whole Dali in one picture", since it is a whole anthology of his images.
At the top, the whole scene is dominated by the spiritual head of Gala, in the lower right corner there is a six year old Dali, dressed as a sailor (as he portrayed himself in "The Ghost of Sexual Attractiveness" in 1932).
In addition to many images from earlier works, there is a series of Venus de Milo in the picture, gradually turning and simultaneously changing the gender.
The bullfighter himself is not easy to see — until we realize that the naked torso of the second Venus on the right can be perceived as part of his face (the right chest corresponds to the nose, the shadow on the stomach corresponds to the mouth), and the green shadow on her drapery is like a tie.
To the left, a bullfighter's jacket, embroidered with sequins, shimmers, merging with the rocks, in which the head of a dying bull is guessed.
Dali's popularity was growing.
The demand for his work has become crazy.
Book publishers, magazines, fashion houses and theater directors fought for it.
He has already created illustrations for many masterpieces of world literature, such as the Bible, Dante's "Divine Comedy", Milton's "Paradise Lost", Freud's "God and Monotheism", Ovid's "The Art of Love".
He has published books dedicated to himself and his art, in which he unrestrainedly praises his talent ("The Diary of a genius", "Dali by Dali", "The Golden Book of Dali", "The Secret Life of Salvador Dali").
He always had a quirky manner of behavior, constantly changing extravagant costumes and the style of his mustache.
The cult of Dali, the abundance of his works in different genres and styles led to the appearance of numerous fakes, which caused great problems on the world art market.
Dali himself was involved in a scandal in 1960, when he signed many blank sheets of paper intended for creating prints from lithographic stones stored at dealers in Paris.
An accusation was made of the illegal use of these blank sheets.
However, Dali remained unperturbed and in the 1970s continued to lead his erratic and active life, as always continuing to search for new plastic ways to explore his amazing world of art.
In the late 60s, the relationship between Dali and Gala began to fade.
And at the request of Gala, Dali was forced to buy her his castle, where she spent a lot of time in the company of young people.
The rest of their life together was a smouldering embers that were once a bright bonfire of passion ...
Gala was already about 70 years old, but the more she got older, the more she wanted love.
"Salvador doesnot care, each of us has our own life," she convinced her husband's friends, dragging them into bed.
"I allow Gala to have as many lovers as she wants," Dali said.
— I even encourage her, because it excites me."
Gal's young lovers mercilessly robbed her.
She gave them Dali paintings, bought houses, studios, cars.
And Dali was saved from loneliness by his favorites, young beautiful women, from whom he needed nothing but their beauty.
In public, he always pretended that they were lovers.
But he knew that it was all just a game.
The woman of his soul was only Gala.
All her life with Dali, Gala played the role of the gray cardinal, preferring to remain in the background.
Some considered her the driving force of Dali, others a witch, weaving intrigues ...
Gala managed her husband's ever growing wealth with a quick efficiency.
It was she who closely followed the private and deals for the purchase of his paintings.
She was physically and mentally necessary, so when Gala died in June 1982, the artist suffered a heavy loss.
Among the works created by Dali a few weeks before her death is "Three famous Riddles of the Gala", 1982.
Dali did not participate in the funeral.
According to eyewitnesses, he entered the crypt only a few hours later.
"Look, I'm not crying," was all he said .
After the death of Gala, Dali's life became gray, all his madness and surreal fun were gone forever.
Only he knew what Dali had lost with Gala's departure.
He wandered alone through the rooms of their house, muttering incoherent phrases about happiness and how beautiful the Gala was.
He did not draw anything, but only sat for hours in the dining room, where all the shutters were closed.
After her death, his health began to deteriorate sharply.
Doctors suspected Dali had Parkinson's disease.
This disease once became fatal for his father.
Dali almost stopped appearing in society.
Despite this, his popularity grew.
Among the awards showered on Dali as if from a cornucopia was membership in the Academy of Fine Arts of France.
Spain honored him with the highest honor, awarding him the Grand Cross of Isabella the Catholic, presented to him by King Juan Carlos.
Dali was declared the Marquis of Dae Pubol in 1982.
Despite all this, Dali was unhappy and felt bad.
He threw himself into his work.
All his life he admired the Italian artists of the Renaissance, so he began to paint paintings inspired by the heads of Giugliano de ' Medici, Moses and Adam (located in the Sistine Chapel) by Michelangelo and his "Removal from the Cross" in the Church of St. Peter in Rome.
The artist spent the last years of his life completely alone in the Gala Castle in Pubol, where Dali moved after her death, and later in his room in the Dali Museum Theater.
Dali finished his last work, "Dovetail", in 1983.
This is a simple calligraphic composition on a white sheet, inspired by the theory of catastrophes.
By the end of 1983, his mood seemed to have lifted somewhat.
He began to walk around the garden sometimes, began to paint pictures.
But this did not last, alas, for long.
Old age prevailed over a brilliant mind.
On August 30, 1984, a fire broke out in Dali's house.
Burns on the artist's body covered 18% of the skin.
After that, his health deteriorated even more.
By February 1985, Dali's health improved somewhat and he was able to give an interview to the largest Spanish newspaper "Pais".
But in November 1988, Dali was admitted to the clinic with a diagnosis of "heart failure".
Salvador Dali died on January 23, 1989 at the age of 84.
He bequeathed to bury himself not next to his surreal Madonna, in the tomb of Pubol, but in the city where he was born, in Figueres.
The embalmed body of Salvador Dali, dressed in a white tunic, was buried in the Figueres Theater Museum, under a geodesic dome.
Thousands of people came to say goodbye to the great genius.
Salvador Dali was buried in the center of his museum.
He left his fortune and his works to Spain.
The message about the artist's death in the Soviet press: "Salvador Dali, a world — famous Spanish artist, has died.
He died today in a hospital in the Spanish city of Figueres at the age of 85 after a long illness.
Dali was the largest representative of surrealism an avant garde trend in the artistic culture of the twentieth century, which was especially popular in the West in the 30s.
Salvador Dali was a member of the Spanish and French Academies of Arts.
He is the author of many books and screenplays.
Exhibitions of Dali's works have been held in many countries of the world, including recently in the Soviet Union."
"For fifty years now, I have been entertaining humanity," Salvador Dali once wrote in his biography.
It entertains to this day and will continue to entertain, if humanity does not disappear and painting does not perish under technological progress.
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http://www.m
ir
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dali.ru/biography.html
"...The designated child was born on the street
Monturiol, 20, at 8: 45 on May 11 of this year.
He is now named Salvador Felipe Jacinto.
Constitute
behind
the equestrian son of the applicant and his wife Dona Felipa Dom Domenech, 30 years old, a native of Barcelona, also
living at 20 Monturiol Street.
Paternal ancestors: Don Galo Dali Vinas, born and
buried in Cadaques, and Dona Teresa Cusi Marcoe, a native of Ro
sasa.
His maternal ancestors:
don Anselmo Domenech Serra and Dona Maria Ferres Sadurni, natives of Barcelona.
Witnesses: Don Jose
Mercader, a native of La Bisbal in the province of Gerona, a tanner living on the street Calzada de Los
Monjas, 20, and Don Emilio
Baig, a native of Figueres, a musician who lives at 5 Perelada Street, both
adults".
(here and further:
"The secret life of Salvador Dali, written by himself"
, Salvador Dali, biography
)
http://www.mir dali.ru/biography.html
"...The said child was born on the street Monturiol, 20, at 8 hours 45 minutes on May 11 of this year.
He is now named Salvador Felipe Jacinto.
He is the legal son of the applicant and his wife, Dona Felipa Dom Domenech, 30, a native of Barcelona, also living at 20 Monturiol Street.
Paternal ancestors: Don Galo Dali Vinas, born and buried in Cadaques, and Dona Teresa Cusi Marcoe, a native of Rosas.
His maternal ancestors were Don Anselmo Domenech Serra and Dona Maria Ferres Sadurni, natives of Barcelona.
Witnesses: Don Jose Mercader, a native of La Bisbal, Gerona province, a tanner living at 20 Calzada de Los Monjas Street, and Don Emilio Baig, a native of Figueres, a musician living at 5 Perelada Street, both adults."
(here and further: "The secret life of Salvador Dali, written by himself", Salvador Dali, biography)
