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Home Paintings by famous masters Bright personalities in the art of Salvador Dali: paintings, biography
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Salvador Dali: paintings, biography
Author: Pavel In
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Salvador Dali was born on May 11, 1904 in Figueres, near Barcelona.
"At the age of six, I wanted to be a cook.
At seven, I wanted to be Napoleon.
And since then, my ambitions have steadily grown, " Dali wrote in his memoirs.
His many talents began to manifest themselves in early childhood, and his parents sent him to the school of fine arts.
According to the artist himself, many of the themes of his work go back to the impressions of childhood.
In addition to artistic talents, Dali also possessed another, no less important the talent of self promotion, which was spurred on by the megalomania that really took place.
But still, this did not make him one of the most popular and one of the most outstanding artists of the XX century.
Dali has a rare ability to make the fruits of his unbridled imagination accessible to others.
After a period of fascination with impressionism and cubism, he began to work in a surrealist manner.
He wants to capture the work of the subconscious.
But Dali's collaboration with the surrealist circle of Andre Breton did not last long— in 1934 he was excluded from the group under the pretext of the excessively academic nature of painting.
After moving to Paris, he meets and begins to communicate with writers — Louis Aragon, Crevel and the Eluard couple.
Soon Dali falls madly in love with Paul Elyur's wife, Elena Diakonova, a Russian by birth, who is ten years older than him.
Soon Diakonova, or Gala, as everyone calls her, goes to Dali.
"I love her more than my father, more than my mother, more than Picasso and even more than money," he says of Gal, and in general, he expresses himself, especially in the presence of journalists, as effectively and paradoxically as possible.
Since then, Gala has become such an integral part of his life and work that he often signs his canvases with two names — Gala and Salvador Dali.
Almost every day he gives his paintings to Gala.
He draws it constantly.
Where there should be an image of a woman on his funeral is the Gala, his Madonna.
And he, unfortunately, depicts the Madonna herself with the face of his wife.
This" Gap period " continues until her death in 1982, and Dali has not parted with her photo since then, in which Gala is depicted as a girl.
By the mid 40s, Dali turned to a new topic for himself— religion.
And for the next twenty years, he is mainly occupied with the problems of Christianity.
After the small sized pictures of the period of early surrealism, which often depicted rather deserted landscapes, Dali now stops at huge canvases with many details, such as his "Ecumenical Cathedral".
No less well known are his works on this topic " Christ the Holy St. John on the Cross" (1951, Glasgow, Art Museum), " The Last Supper "(1955, Washington, National Gallery)," The Crucifixion " (1954, New York, Metropolitan Museum of Art).
Since the beginning of the 60s, engraving has especially attracted Salvador Dali.
In the 30s, he already turned to this kind of art — he illustrated the book "Songs of Maldoror" by Lautreamont, and now on his engravings there are heroes of ancient mythology and the Bible, motifs from the poetry of Apollinaire, Cervantes and Ronsard, illustrations for Goethe's Faust.
But no matter how important Dali's other achievements are, "Songs of Maldoror" remain, according to experts, his main and even unique graphic creation.
Dali's graphics are very interesting and multifaceted.
Here is at least a sheet of "Pieta".
Just a few touches, a few lines, but how could he accurately express the grief of a mother for her son.
Probably, a real artist manifests himself in this— something inexplicable, subconscious, creating an artistic image is added to the outstanding abilities and knowledge of anatomy, technical skill, colossal efficiency.
Dali can philosophize with a pen in his hand or a drop of ink, and he does not have a gap between the analytical vision and the sensual one.
He is undoubtedly the heir of the great masters of the Renaissance Leonardo da Vinci, Raphael, Durer. .
But not an imitator, his works are recognizable, they have a fantasy inherent only in Salvador Dali.
In addition to the grandiose image given to him from birth, of course, life situations also affected the character of his works.
For example, in the late forties, he returns from America to his homeland, to Spain.
In his previous works, there is nostalgia for the Catholic world of Spain.
She is his long term dream, his myth, a dream.
It is the 50-70s that are the most fruitful for Dali.
It was at this time that he turned to mythology, to biblical stories.
He absorbed the world culture, because he traveled a lot, studied life, its diversity.
Vos accepted everything new with such interest that it became an integral part of him.
It is interesting that he officially married his wife Gala 50 times.
In every country where he came, he married her, admiring the beauty of the marriage ceremony, its patriarchal nature, nationality.
What is the main thing for Dali?
His picturesque worldview, where reality is everything taken together.
And our everyday days, and our dreams, our movement in this time and movement in other times.
We exist in the sphere of history, in the sphere of space.
He felt this in himself and captured it in his canvases.
Dali himself is a myth of the XX century.
A myth filled with the reality of the artist's own images.
Perceptions in Dali's work in the USSR
"You'd better get ready for the next lesson," the drawing teacher told one of us, " we'll draw a nut in the section..."
At that time, and it was in the middle of the seventies, the realism of the nut in the context was, of course, stronger than the surrealism of Salvador Dali.
And not only in drawing lessons, we are taught that all these "Dadaists"," Surrealists " and other nonsense have nothing to do with our art.
Here is about how some art critics of quite serious publications assessed Dali's work and his personality: "... an atheist and a blasphemer, now a orthodox Catholic, a mystic and a businessman, Dali's pictorial form is extremely lifeless, devoid of any individuality, it is clearly speculative in nature, designed to deceive the eye..."
Despite such a powerful pressure against Salvador Dali, his works fascinated us, made us think, look much more broadly at what is happening both inside and around.
In any case, there was neither indifference nor disgust, at least...
But the following happened: Dali did not fit into the rigid framework of our ideas about painting, and we simply denied him, dismissed him, already recognized by the whole world and, perhaps, did not need our knowledge.
Rather, we needed him, his painting, because without it it is no longer possible to imagine the mother of world culture, and without this we became much poorer...
Botticelli by all.
Now.
But how difficult it was for him to make his way to consciousness through years of misunderstanding.
His figures seemed too elongated, violating the j laws of ratios.
And only then did they realize that his law of the golden section, which was wrong for others, was the only true one only for him, who was an artist of the Renaissance.
This is about the same with Sal Vador Dali, although he is an artist of his harmony... the multi dimensionality of space and the person crucified on this multi dimensionality this is how Salvador Dali, his pictorial vision, seems to be.
The peculiarity of creativity
The sufferings of a person passing through all the collisions of this century, breaking him, grinding him, thirst and pain of lost integrity: his famous painting "The Anticipation of the Civil War" (1936, Philadelphia, Art Museum) was painted by a relatively young, just maturing Salvador Dali.
And despite its coldness and reasonableness, it is not by chance that it appeared almost simultaneously with Pablo Picasso's" Guernica", which has already become the canonical work of another classic of the new art of the XX century.
This parallel may seem controversial, but it is impossible not to see the main thing— in these two maps it is almost the same, almost the same thing — about the coming break in the world, man, about the coming fascism.
However, everyone has their own manner, their own way of expression.
In Salva dora Dali, this is a realistic accuracy, which is based on a drawing and a fantastic allegory of the same reality.
Salvador Dali seems to see through the world.
His gaze captures both the smallest detail, and this detail, magnified by a metaphor.
He shifts ideas, settles one world in another.
The foresight of violence, the destruction and self destruction of a person and the surrounding world wasnot all this tragically confirmed later?
Yes, Salvador Dali looks deep into the most cruel truth, but in the name of salvation, in the name of integrity...
The main milestones of Dali's work
Salvador Dali (11.05.1904-23.1.1989) was a Spanish artist, sculptor and graphic artist, the most important representative of Surrealism.
Stylistic experiments and eccentric actions made him one of the most popular and controversial figures among artists of the XX century.
Salvador Felipe Jacinto Dali was born in Figueres (Catalonia)in the family of a notary.
Already in early childhood, he began to show interest in drawing and painting and take private lessons.
At the age of 16, he was enrolled in the Art Academy in Madrid.
1920: In search of his own style.
In the early twenties, Dali was fascinated by the works of futurists who were able to visually convey movement.
In Madrid, he met the poet Federico Garcia Lorca and the film director Luis Bunuel.
In 1923, Dali was expelled from the academy for a year for violations of discipline.
In his sketches of that time, he turned to works in the Cubist style of Pablo Picasso and Juan Gris, as evidenced, for example, by the decomposition of figures into numerous facets in the painting "Young Girls" (1923).
1928: An appeal to Surrealism.
In 1926, Dali was expelled from the academy.
Already in the paintings of 1928, the influence of the Surrealists (especially Yves Tanguy) and the metaphysical painting of Giorgio de Girico is noticeable.
In the same 1928 Dali went to Paris, joined a group united around Andre Breton, and created his first independent surrealist works (for example, "Blood is sweeter than Honey", 1928; "Bright Joys", 1929).
At the beginning of 1929, the premiere of the film "The Andalusian Dog" took place, the script of which was written by Dali and Bunuel.
In 1929, Dali fell in love with Gala, the wife of the writer Paul Eluard.
Gala left her husband and became the Spaniard's life partner and muse.
Dali's fame was brought by such paintings as "Blurred Time" (1930) and "The Constancy of Memory" (1931).
The unchanging motives of his work were death and destruction, as well as the world of human sexual experiences.
In the early 30s, Dali came into conflict with the Surrealists on political issues.
His monarchical tendencies and admiring reviews of Adolf Hitler turned Breton against him.
Dali broke with the Surrealists after they accused him of counter revolutionary activities.
1937: The invention of the double picture.
In the work" The Conquest of the Irrational " (1935), Dali formulated his paranoid critical method.
Excited by the psychoanalysis of Sigmund Freud, he called the goal of his painting an accurate description of unconscious dream pictures.
An example is, in particular, "The Metamorphoses of Narcissus" and "Dream" (both - 1937).
In the same 1937 Dali came to Italy, where he was mainly interested in Renaissance painting, Mannerism and Baroque.
Based on the paintings of shifters by the artist of the XVI century Giuseppe Arcimboldo, he created the so called "double paintings", in which the viewer could discover a wide variety of motives.
In "Spain" (1938) Dali arranged the fighting horsemen in the background in such a way that at the same time they represented the face of a woman.
1940-1948: In the USA.
In 1940, Dali left France for Pebble Beach (California), where he opened a new workshop.
Three years later, Dali announced a turn in his artistic creativity: "I intend to turn to the classics."
In 1948, he returned to Spain and settled in Port Lligate.
Having broken with the avant gardists, he began to develop religious fantasy themes.
His paintings such as "The Madonna of Port Lli gata" (1949), which even received the blessing of the Pope, and " Christ before St. John the Baptist" (1951), vividly illustrate the change that has occurred.
1951: Atomic art.
On the eve of the Cold War, Dali developed the theory of" atomic art", published in 1951 in the"Mystical Manifesto".
In such paintings as" The Exploding Head of Raphael " (1951), he wanted to convey to the viewer the idea of the permanence of spiritual existence even after the disappearance of matter.
In 1959, Dali painted "The Discovery of America" - the first of a series of paintings on a historical theme.
1970: Life as a work of art.
In 1973, Dali and Gala opened the "Dali Museum" in Figueres (the concept of which was developed by themselves) - a cult place of artists.
Six years later, the art of staging Dali reached its apogee: at one of the meetings of the French Academy, he made a temperamental speech in which he announced that after death he wanted to be frozen in order to resurrect one day, for which he was canonized by the Academy.
In 1982, his wife Gala died, and Dali retired to the castle of Pubol.
He was 84 years old when he died in Figueres.
Dali's paintings
1924 Portrait of Luis Bunuel
1925 Portrait of my sister
1925 Portrait of my sister
1918 (approx.) Jug
1919 (ca.)
Self portrait in the workshop
1920 Portrait of the artist's mother Dona Felipa Domenica de Dali
1920 Portrait of the cellist Pichot Ricard
1923 The Gypsy from Figueres
1923 Cubist self portrait
1924 Still Life
1924 (ca.) Nude
1924 (ca.)
Naked in the water
1925 Portrait
1923 (ca.)
Pierrot with guitar
1925 A woman in a window in Figueres
1925 Pierrot plays the guitar
1926 Harlequin
1920-1921 Self portrait with Raphael's neck
1928 The Phantom Cow
1928 The Rotting Donkey
1929 Portrait of Paul Eluard
1930 Bleeding Roses
1929 Memory of a woman child
1929 On the first day of spring
1930 Fish Woman
1930 Prematurely ossified railway station
1930 The Hand (Remorse)
1931 The persistence of memory
1927 Apparatus and hand
1928 (ca.)
Four wives of fishermen in Kadakes
1928 Abstract composition
1929 Adaptability of desires
1929 Enlightened pleasures
1930 Paronoid Horse Woman (Invisible sleeping Woman, lion and Horse)
1931 Hallucination, six phenomena of Lenin on the piano
1928 (ca.)
The Ghost Cow
1929 The face of the Great Onanist
1927-1928 Fruitless efforts
1929 The Riddle of Desire
1929-1932 The Invisible Man
1926-1927 Etude for Honey sweeter than blood (37.7 x 46.1 cm) (part s..)
1934 (ca.) _Portret of Gala with two lambs balanced on her shoulder
1936 Landscape with a girl with a rope
1932 Gradiva finds anthropomorphic Ruins (Retrospective fantasy)
1933 Architectural Angelus Millet
1934 The Ghost of sex appeal
1935 A ghost in the evening on the beach
1935 Systematic cycle of surrealist lectures "Omar"
1937 Swans reflected in elephants
1932 Anthropomorphic bread
1934 Yin and Yang (65x53. 5 cm) (private collection)
1936 Three young surreal women holding orchestra skins
1936 Necrophilic Spring
1931 Remorse or the Sphinx embedded in the Sand
1933 Phantom of the wagon
1934 The Ghost of Vermeer of Delft
1934 (ca.)
Archaeological reminiscence by Angelus Millet
1935 Portrait of the Gala
1936 (ca.)
Surreal composition with invisible figures
1936 Autumn cannibalism
1936 Soft construction with boiled beans (A premonition of the Civil War)
1937 The Metamorphosis of Narcissus
1938 Car wreckage gives birth to a blind horse gnawing on a phone
1932 Memory of a woman child (99. 1x120 cm)
1939 Portrait of Shirley Temple
1939 Portrait of Gala in a turban
1940-1941 The Face of War
1941 Soft self portrait with fried ham
(31x51 cm) (private collection)
1942 Nude in the Rosas Valley
1943 Princess Arthchild Gourielli Elena Rubinstein
1944 A dream caused by a bee flying around a pomegranate a second before waking up
1939 The Riddle of Hitler
1941 Honey is sweeter than blood
1942 Portrait of Mrs. Ortiz Linares
1943 The Triumph of the Whirlwind
1943 A Geopolitical Child Watching the Birth of a New Person
1944 Sketch for the Enchanted dream (the dream sequence in Spellbound)
1945 My wife, naked, looks at her own body, which has become a ladder, three vertebrae of the column and.
1946 Bolero (36 x 23.8 cm) (h. s.)
1940 The evening spider promises hope
1940 The slave market with the phenomenon of the invisible bust of Voltaire
1944 Blooming eye
1944 The Deity of the Bay of Roses (56. 2x76. 7 cm) (Richmond, Museum of Art. the Arts of Virginia)
1945 Project for the film Charmed
1938 The phenomenon of faces and fruit vases on the beach
1938 The Infinite Riddle
1946 Oasis (
1948 Sentimental Colloquium
1952 Spherical Galatea
1954 The maximum speed of Raphael's Madonna
1952 Eucharistic still life
1954 Statue of Olympian Zeus
1955 Portrait of Laurence Olivier as Richard III
1947 Portrait of Picasso
1948 Portrait of Enid Haldorn
1949 Madonna of Port Lligat (first version)
1954 Microphysical Madonna
1957 Music or the Gold of the Red Chapel or the Gold of the Seven Arts
1946 The Temptation of St.Antonia
1955 The Last Supper
1956 Still Life - fast moving
1957 Santiago el grande
1952-1954 Disintegration of the Persistence of memory
1953-1954 Crucifixion (hypercubic body)
1957 Modern Rhapsody
1972 The Last Supper
1981 The great onanist appears behind the arcade
1981 Looking at the Great Onanist
1981 Landscape with celestial symbols
1981 Bust of a woman
1959 Portrait of a young woman in a landscape
1974 Vermeer's Love Letter
1981 Three figures
1982 Three Glorious Riddles Gala
1960 Ecumenical Council
1965 A Fantastic Journey
1965 Railway station in Perpignan
1970 Young Ladies from Avignon
1975-1979 Portrait of the Gala
An article about Dali's work
Dali Salvador (1904-1989) was a Spanish American painter.
He said: "I myself, when I write, do not understand what the meaning is in my picture.
Do not think, however, that it is devoid of meaning!
It's just that it is so deep, so complex, unintentional and whimsical that it escapes the usual logical perception."
When Salvador Dali was six years old, he accidentally overheard an adult conversation about Halley's comet, which was supposed to appear when it got dark.
Everyone was worried that if she accidentally touched the Ground with her tail, the end of the world could come.
As Dali himself wrote, he was then paralyzed by fear.
He rushed after everyone to the upper terrace, from where he could see the passing comet, and this fear still lived in him.
And it was because of this fear that he then kicked his three year old sister on the head, who was crawling on the floor.
For this terrible offense, his father locked his son in his office and, although he was shouting in a voice that was not his own, he did not let him look at Halley's comet.
It is the diaries and the "secret life" written by the artist himself that explain a lot in his work.
The volume of the classic psychoanalyst Sigmund Freud, who in his student years always carried Salvador smeared with paints under his arm, became for him a kind of key to understanding his essence, his second, subconscious "I", which is so mercilessly revealed in all his paintings and literary records.
Salvador Dali is absolutely rightly called the "slave of the century".
In his life, in his works, the most nightmarish visions of the XX century were reflected as in a mirror - "The Burning Giraffe" and "The Face of War", "Atomic Leda" and "Autumn cannibalism", reflected what is usually concentrated deep in the subconscious and what was called surrealism.
Dali claimed: "Surrealism is me!"
And time itself has confirmed his correctness.
Now few people read Breton's surrealist manifestos, and the fame of Dali - the great discoverer of the" collective subconscious " - is growing year by year.
Salvador Dali was born on May 11, 1904 in the Spanish city of Figueres.
His father owned a notary office, but when it was time for Salvador to study, he sent his son not to a monastery school, where children of wealthy parents usually studied, but to a municipal school that educated the poorest.
Salvador led a separate lifestyle from his childhood and loved, as he admitted, "weakness, old age, luxury" and all sorts of games with disguises.
At the age of sixteen, when Salvador was already studying at a college in Figueres, he took it into his head to throw himself down the steep stairs that led from the classrooms to the courtyard.
And seeing what an impression his jump made on everyone, how they were scared and how they felt sorry for him later, Salvador repeated it several more times.
Very hard young Salvador experienced the loss of his mother, who, according to him, loved him with "great and proud love", and after her death, Salvador decided to himself that "he simply owes it... to show genius, even in vice."
By that time, Salvador was already taking drawing lessons At one time, I was fond of impressionism, pointillism, discovered Cubism and the painting of Juan Gris, took part in a collective exhibition of Catalan artists, knew about Italian futuralism.
His mother died in 1921, and in 1922 Salvador entered the Madrid School of Fine Arts and settled in a student residence, where he met L. Bunuel and F. Garcia Lorcoy.
It was the close friendship with the brilliant Spanish poet, which lasted for more than six years, that left an imprint on the formation of the character and on Dali's work.
They were very different, if not polar people.
Dali is an egocentric, Lorca is a "child of goodness and light", but they understood each other very deeply, felt each other, were sincere, supported one another, which is extremely rare if two geniuses meet.
In his work, Lorca sought to follow the traditions of the original duality of Spanish art, in which mystery and formula, traditional, folklore and scientific art coexisted.
Dali chose the line of pure reason and from the very beginning of his creative path led a battle with the Great Irrational.
He was trying to turn a Mystery into a riddle, and then solve it.
And it's not for nothing that he wrote on one of his drawings: "We are alive only by a secret.
Only a secret..."
Some influence on Dali was also exerted by the Italian metaphysical paintings of Giorgio de Chirico and Cala Carra.
When Salvador Dali came to Madrid in 1922 with his father and sister, he admired the talent of the old masters and was sure that he would have someone to learn from at the San Fernando Academy.
However, just a year later, he said that he would not take exams "for those who know immeasurably less, understand almost nothing and do not know anything at all."
He returned to Catalonia in the hope of soon gaining recognition not only in Spain, but also in Paris.
At this time, he already had a great command of both the academic manner and the technique of impressionism, he was able, like the Cubists, to geometrize images.
The Catalans heard the word "surrealism" after the exhibition of Italian futurists from the artist and gallery owner Joseph Dalmau.
The young Dali, who still worshipped the masters of the Renaissance, the Flemings, Velasquez and Vermeer, was increasingly inclined to Surrealism in search of his style.
The names of many of Dali's paintings were aphorisms uttered by one of his crazy friends - an old fisherwoman Lydia.
Dali was fond of Freud, wore shoulder length curls, sideburns and a long raincoat and a hat with a brim.
He did not know how to handle money and, as soon as he had it, he always and everywhere paid for everyone.
One of his friends recalled: "Obsessed with painting and fanatically devoted to art, Dali was initially internally lonely and painfully awkward in communication.
He was, as they say, not of this world."
Dali was expelled from the School of Fine Arts, he went to prison, served in the army.
But all this was like an external side of his life.
Creativity remained the main thing.
In addition to still lifes, portraits, compositions "Honey is sweeter than blood", "Dead Donkey" and others, scenery for the drama by F. Garcia Lorca "Mariana Pineda", participation in the filming of the film "Andalusian Dog", in the 20s Salvador Dali began to publish his articles about art.
The first of them appeared in the Barcelona "Gaceta de les Artes".
Already a fairly well known artist, in 1929, in Cadaques, Salvador Dali met the French poet Paul Eluard and his wife Gala Elena Dmitrievna Diakonova, whom, according to him, he loved "more than his father, more than his mother, more than Picasso.
And even more than money."
She was both a good angel and an evil genius of a great artist.
She was more than his Muse, and more than his passion.
Here is how Salvador Dali himself wrote about her on the pages of his" Secret Life..."
: "Gala sat on the glossy edge of the rock and ate black grapes, becoming more beautiful, more dazzling with each berry.
And so it is day after day.
In the tense silence, I could physically feel how she was filling with sweetness, taking it away from the berries.
I touched it and realized that I was not touching the flesh, but the heavenly golden grape pulp..."
In 1930, Dali moved to Paris, and he and Gala bought a house in Port Lligate.
He gave a lecture in Barcelona on "The Morality of Surrealism" , made illustrations for the book by A. Breton and P. Eluard "The Immaculate Conception" and for the Second Manifesto of Surrealism.
At the end of the year, the premiere of the film "The Golden Age", which Dali made together with Bunuel, took place.
In the foyer of the cinema club, a pogrom of the Surrealist exhibition was organized and the film was banned.
In 1931, the "Golden Age" was shown in London, and the exhibition "New Superrealism" was held in the United States, where Dali showed eight of his paintings and two drawings.
In the 30s, such Dali paintings appeared as "The Ghost of a Sensual Call", "The Triangular Hour", "A Couple hovering in the clouds", "Gala and Evening Bell", "Prayer Gala", "Evening on the sidelines of European History", "Venus of Milo with boxes", "Imperial Violets, or the Riddle of Hitler" and many Others.
Exhibitions of Dali's paintings were held in New York, Barcelona.
Paris.
And he himself, after the beginning of the unrest in Barcelona, issued by the proclamation of Catalan independence, left with Gala for Paris.
In 1935, Dali lectured at the Museum of Modern Art in New York, then returned to France again, traveled to Italy, Austria, and England.
In 1938, in London, Dali met Freud, whose books he read all his life.
In 1939, he moved to the United States, then briefly returned to Europe, and after the occupation of France, he was forced to return overseas for a long eight years.
In the USA, his exhibitions were held with great success, there he painted his paintings "The Face of War", "Two pieces of bread the embodiment of love" and many others, illustrated "Don Quixote", "Macbeth", made the scenery for the ballet "Labyrinth" to the music of F. Schubert, as well as for "Romeo and Juliet", published "The Secret Life of Salvador Dali, written by himself" and the novel "Hiding the Face".
And in the post war years, many Dali exhibitions were held in the United States.
He also came there to give lectures after he returned to live in France in 1948.
Among the works created by Dali in the 1950-1980's, the most famous "Portrait gala in the balls," "Life of Mary Magdalene", "Birth of God", "Christ Gala" and many others, as well as Dali's illustrations to the Bible, "a Thousand and one night", "Romeo and Juliet", "the Works of the Marquis de Sade", "Faust", "Carmen", "Alice in Wonderland", "Decameron"...
The Dali exhibition held in USA, Japan, almost all European countries.
The Diary of a Genius, a collection of articles about art "Dali yes!" were reprinted; the artist was awarded many orders and medals.
In 1982, the Dali Museum was opened in St. Petersburg (Florida, USA), and in the same summer his unforgettable Gala died, with which he survived both the years of wandering and the years of world fame.
It was she who taught him in the distant half starved 30s for them to behave in such a way that no one would guess that they were in poverty.
Salvador Dali himself wrote: "Back in Malaga, I went to Gala as an apprentice.
First of all, she taught me two postulates - about the primacy of pleasure and that the world is real.
In passing, she taught me how to dress, walk up the stairs and not fall at every step, recognize my enemies, not to waste money and not to throw chicken bones at the ceiling at dinner.
She also taught me the postulate of measure, which was dormant for the time being in the depths of my being, for Gala herself is an Angel of Balance."
Dali dreamed that at least one of his paintings would end up in the homeland of his incomparable Gala, in Russia.
And in Russia, Dali was not recognized almost until his death, he was considered the personification of"the decomposition of bourgeois society".
Those who knew Dali, as anecdotes retold stories about his extravagant, outrageous antics, about how he dipped a starfish in paint and let it crawl on the canvas, convincing everyone that it would turn out to be a real masterpiece, how he came to the ball in his honor in a hat that was decorated with a rotten herring.
However, few people tried to understand his paintings.
Dali did not just live; he directed his life.
He himself erected an incomparable Gala on a pedestal, he himself invented a mask with antennae of a mustache and even in his younger years became a bright representative of a new, hitherto unknown surrealism.
Salvador Dali died on January 23, 1989, leaving descendants a mysterious, unsolved world of his paintings.
When art historians give lectures on Surrealism today, they most often show as an illustration Dali's painting "Perseverance of Memory" written in 1929, which depicts an unusual, flowing, spreading clock.
This is impossible in reality, but it is quite possible in a dream.
Dali recalled that on the evening when this canvas appeared, he was very tired, he even started to have a little headache, and Gala went to the cinema without him.
And for some reason he thought about the spreading pulp, then remembered about the cheese.
Having, as usual, before going to sleep in the Studio, he looked at the landscape of the Port Ligat, which stood on an easel at the first plan was naked with broken olive branch...
"I felt,- he wrote later - that in this picture I managed to create an atmosphere in tune with what is important to the image - but what kind?
I havenot the faintest idea.
I was just reaching for the switch when I suddenly saw the clock spreading out: it was hanging from a branch in the most pathetic way.
Overcoming a headache that became almost unbearable, I rushed to the palette and got down to business.
Two hours later, by the time Gala returned, the most famous of my paintings was finished."
When Salvador Dali was asked why his watch was spreading, he answered al: "But the point is not that they spread!
The bottom line is that my watch shows the exact time."
This time for Salvador Dali was the XX century.
Bogdanov P. S., Bogdanova G. B.
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