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TitleThe Life and Masterworks of Salvador Dalí
Author
File Size49.9 MB
Total Pages256
Table of Contents
                            Contents
Introduction
The Masterworks
Selected Bibliography
Chronology
List of Illustrations
                        
Document Text Contents
Page 1

Eric ShanesEric Shanes

The Life and Masterworks of

SALVADOR DALÍ

The Life and Masterworks of

SALVADOR DALÍ

Page 2

Author: Eric Shanes

Layout:

Baseline Co. Ltd.

61A-63A Vo Van Tan Street

4th Floor

District 3, Ho Chi Minh City

Vietnam

New York, USA

All rights reserved.

No part of this publication may be reproduced or adapted without the permission of the

copyright holder, throughout the world. Unless otherwise specified, copyright on the works

reproduced lies with the respective photographers. Despite intensive research, it has not

always been possible to establish copyright ownership. Where this is the case, we would

appreciate notification.

ISBN 978-1- -8 -

© Confidential Concepts, Worldwide, USA

© Salvador Dalí, Gala-Salvador Dalí Foundation/ Artists Rights Society (ARS),

78042 79 6

Page 128

128

TThhee BBiirrtthh ooff LLiiqquuiidd FFeeaarrss

1932

Oil on canvas, 55 x 38.5 cm.

Kunsthalle, Hamburg, on loan from a private collection.

Liquid pours from a tall, partially-shrouded cypress tree into a

small pool cut from the earth’s crust; just beyond, the rock

taken from the ground is piled up neatly. Through the haze in

the far distance it is possible to make out the small hill and

tower near Port Lligat we have already encountered in the 1930

Paranoiac Woman-Horse (Invisible Sleeping Woman, Lion, Horse)

(page 110). That shallow rise, topped by a small circular protu-

berance, is not unlike a woman’s breast and nipple when

viewed from the side.

It is easy to grasp Dalí’s intended meaning here, given

that the tree looks so phallic and pours forth liquid, albeit

not from its tip (but then, that would have been a little

too obvious).

AAggnnoossttiicc SSyymmbbooll

1932

Oil on canvas, 61 x 72.1 cm.

Philadelphia Museum of Art, Pennsylvania.

From the base of a cracked wall a Louis XV spoon stretches out,

narrowly skirting a solitary, phallic-looking rock that would

otherwise have barred its way. Within its hollow the spoon

bears a tiny gold pocket watch. Clearly the hugely elongated

spoon derived from the immensely drawn-out arms and hands

visible in the 1927 painting Honey is Sweeter than Blood (study,

page 86) and similar images of that time.

The image is deeply enigmatic, if not even baffling. Yet that is

surely its point – the ‘Agnostic Symbol’ is just as unfathomable

as all the familiar symbols of positive religious belief that have

proven so central to human culture. By 1932 Dalí the

questioner of religious values was very active, which would

certainly not be the case later in his career.

Page 129

129

SSuurrrreeaalliisstt AArrcchhiitteeccttuurree

c. 1932

Oil on panel, 14.1 x 18 cm.

Kunstmuseum, Bern.

A huge multiform structure towers over us, its height empha-

sised by the low viewpoint from which we view it. The piece of

surrealist architecture bears obvious affinities with one that

shall be seen in The Birth of Liquid Desires of 1932 (page 132).

Here it brings forth or supports cypress trees, fried eggs, a

small rock and two extremely elongated spoons, of the kind

seen already in Agnostic Symbol of 1931 (opposite). Because both

of these spoons fit neatly within large hollows in the rocklike

structure, they look as though they have spooned out those

depressions. The spoons thereby differ from the one in Agnostic

Symbol, which simply glides through space. Such associations

of carving point towards the use of spoons for carving and

eating in the Autumn Cannibalism of 1936 (page 172). Similarly,

the combination of a low viewpoint and towering structure will

again be encountered in The Architectonic Angelus of Millet of 1933

(page 139), Atavistic Vestiges after the Rain of 1934 (page 147) and

the Soft Construction with Boiled Beans: Premonitions of Civil War of

1936 (page 166).

This tiny image is especially notable for the skill with which

Dalí dashed in the background, for such was his mastery of

landscape depiction that broad brushstrokes adequately

represent the far horizons of the immense Empordàn plain he

had known since childhood. Dalí surely intended the two fried

eggs to remind us of eyes, if only because of their side-by-side

placement (after all, if they had been vertically aligned, we

would hardly be able to make that association). In the far

distance a man and small child approach, and we shall soon

encounter them again in similar images of this period, just as

we have done already. The man on the left lends a vital sense

of scale and a note of the bizarre to the already curious

proceedings, for why should he be naked from the waist down?

Page 255

255

Saturn Devouring One of His Sons, 1821-1823, FFrraanncciissccoo ddee GGooyyaa 8

Self-Portrait, 1923 12

Self-Portrait in the Studio, c. 1919 64

Self-Portrait with the Neck of Raphael, 1921 6

Shades of Night Descending, 1931 123

The Sheep, 1942 201

Singularities, 1937 33

The Slave Market with the Disappearing Bust of Voltaire, 1940 197

Sleep, 1937 182

Sofa in the Form of Mae West’s Lips, 1938 186

Soft Construction with Boiled Beans: Premonition of Civil War, 1936 166

Soft Heads with Egg on a Plate, Angels and Soft Monsters in an Angelic Landscape, 1977 60

Soft Self-Portrait with Grilled Bacon, 1941 199

Spain, 1938 188

The Spectral Cow, 1928 17

The Spectre of Sex Appeal, 1932 131

Study for ‘Honey is Sweeter than Blood’, 1927 86

The Sublime Moment, 1938 195

Surrealist Architecture, c. 1932 129

Surrealist Horse-Woman-Horse, 1933 20

The Swallow’s Tail (Series on Catastrophes), 1983 247

Swans Reflecting Elephants, 1937 185

TT

The Temptation of St Anthony, 1946 210

Three Young Surrealist Women Holding in Their Arms the Skin of an Orchestra, 1936 31

The Tower, 1934 148

Tuna Fishing, 1967 50

Two Figures, 1936 162

UU

Unsatisfied Desires, 1928 91

Unstill Still Life, 1956 233

VV

Venus and Sailor (Homage to Salvat-Papasseit), 1925 74

Venus de Milo with Drawers, 1936 174

Visage of War, 1940 198

WW

Weaning of Furniture-Nutrition, 1934 153

William Tell, 1930 109

Wind Palace, 1972 52

Woman Sleeping in a Landscape, 1931 125

The Wounded Bird, 1928 92

Wounded Soft Watch, 1974 58

YY

Young Virgin Autosodomised by Her Own Chastity, 1954 226

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