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Transcript of Salvador Dali
"Geopoliticus Child Watching the Birth of the New Man" by Salvador Dali (1943) In this painting Salvador Dali gives us a large egg-shaped globe of the world out of which a man is struggling to "hatch". This "new man" is coming out of North America - the United States. There is blood running out of the crack in the egg and the new man's hand has England firmly in its grasp. In the foreground two figures are watching; one an adult the other a small child. The adult, of indeterminate sex, is drawing the child's attention by pointing at the new man being birthed. The child is standing as if afraid - both hiding behind and holding on to the adult's knees. The imagery here is fairly clear. America is emerging as the major force in the world. This new power is at the cost of some blood (World War II). The fate of England is in America's hands.
Salvador Dali Paysage aux Papillons, c.1956 (Butterflies) Parody Clocks Parody Dali Dali's painting"The Dream or Sleep"
has been parodied a lot in
popular culture due to
its uncommon,strange and
amusing attributes. "The Dream" "The Dream" "The Dream" In spite of being a
with numerous peculiar traits,
he was - undoubtedly -
and hard worker. During his lifetime,
he produced more
than 1,500 paintings -
as well as illustrations
for books and lithographs. He collaborated on works with various photographers and fashion designers - including Elsa Schiaparelli and Christian Dior. •1908 - Dalí's sister - Ana María - is born. •1916 - Discovers modern art. •1921 - Mother dies of cancer. •1926 - Expelled from
San Francisco School of Fine Arts. First visit to Paris, where he meets with Picasso and Miró. •1929 - Collaborates with Louis Buñuel on short film "Un Chien Andalou". Meets future wife - Gala - a Russian immigrant, 11 years his senior. Officially joins the Surrealist Group in Montparnasse, Paris. "Burning Giraffe" •1931 - Produces "The Persistance of Memory" - his most famous work. The soft watches suggest Einstein's theory that time is relative and not fixed. •1934 - Salvador Dalí and Gala marry in a civil ceremony. Expelled from Surrealist Group, partly because of political beliefs. •1938 - Meets Sigmund Freud in London. Draws several portraits of him. •1940 - World War II starts in Europe and Dalí and Gala move to United States - where they remain for 8 years. •1942 - His first autobiography is published - "The Secret Life of Salvador Dalí". •1958 - Remarries Gala in a Catholic religious ceremony. •1960-74 - Works on the Dalí Theatre and Museum in Figueres. •1963 - His "Portrait of My Dead Brother" anticipates Pop Art. •1964 - Awarded the Grand Cross of Isabella the Catholic. •1969 - Designs the Chupa Chups (a Spanish lolly-pop) logo. •1978 - Exhibits first hyper-stereoscopic painting: "Dalí Lifting the Skin of the Mediterranean Sea to Show Gala the Birth of Venus". •1982 - King Juan Carlos of Spain conferrs him with the title of "Marquís de Pubol" - he lives at Pubol Castle. Gala dies on 10 June and Dalí loses will to live. •1983 - Dalí paints his last painting: "The Swallowtail". •1984 - Fire in Pubol Castle. Salvador Dalí returns to Figueres and lives in Theatre-Museum during his final years. •1989 - Dies of heart failure - aged 84 - and is buried in crypt of Theatre-Museum at Figueres. Leaves his entire fortune and works to Spanish state. The well-known surrealisticSurrealismSurrealism is a cultural movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members....
piece introduced the image of the soft melting pocket watchPocket watchA pocket watch is a watch that is made to be carried in a pocket, as opposed to a wristwatch, which is strapped to the wrist. They were the most common type of watch from their development in the 16th century until wristwatches became popular after World War I...
. It epitomizes Dalí's theory of 'softness' and 'hardness', which was central to his thinking at the time. Many also consider that the melting watches were there to literally symbolize the irrelevance of time.Although fundamentally part of Dalí's Freudian phase, the imagery precedes by 14 years his transition to his scientific phase, which occurred after the dropping of the atomic bomb in 1945.It is possible to recognize a human figure in the middle of the composition, in the strange "monster" that Dalí used in several period pieces to represent himself the abstract form becoming something of a self portrait, reappearing frequently in his work. The orange clock at the bottom left of the painting is covered in ants. Dali often used ants in his paintings as a symbol for death, as well as a symbol of female genitalia.It is rumored that the painting was sprinkled with red wine shortly after it was complete, as was the Mona LisaMona LisaMona Lisa is a 16th century portrait painted in oil on a poplar panel by Leonardo da Vinci during the Italian Renaissance. The work is owned by the Government of France and is on the wall in the Louvre in Paris, France with the title Portrait of Lisa Gherardini, wife of Francesco del Giocondo...
The Disintegration of the Persistance of Memory Dalí returned to the theme of this painting with the variation The Disintegration of the Persistence of Memory
(1954), showing his earlier famous work systematically fragmenting into smaller component elements, and a series of rectangular blocks which reveal further imagery though the gaps between them, implying something beneath the surface of the original work; this work is now in the Dalí Museumin St. Petersburg, Florida,while the original Persistence of Memory remains at the Museum of Modern Art in New York City.Dalí also produced various lithographs and sculptures on the theme of soft watches late in his career.
"Tentation" "Soldier" "Still life moving Fast" "No Dreams" "Autumn Cannibalism" "Burning Giraffe" "One second before awakening by a dream caused by the flight of a bee around a promegranate" "Allegorie De Soie" "Allegorie De Soie" "Allegorie De Soie" "Bacchanale" "The Lugubrious Game" 1929 "Metamorphosis of Narcissus" "The Tree of Life" "Soft Construction with Boiled Beans" "Young Girl Auto-Sodomized by her own Chastity" Birthday and astrological sign: May 11, 1904, Taurus
He and his older brother, who died before he was born, had the same name. Salvador Dali Facts One of the greatest surrealists of our time, best known for his ability to translate dreams into artwork, "hand painted dream photographs" he called them. He was also a sculptor, filmmaker, writer and insane or just wanted people to believe that he was insane.
Salvador also had an intense fear of grasshoppers.
He dedicated his life to proving he was a genius.
As a child he was frequently expelled from school.
He liked his wife because she changed her clothes three times a day.
He was notorius for not knowing how to count money.
He was afraid to expose his feet.
To ward off evil spirits, he carried a piece of lucky driftwood around.
He was afriad of germs, assassignation and especially grasshoppers.
When in public, he would jump up and down to get attention.
He was kicked out of the official surrealist society in 1934.
His nick name was Avida Dollars, which, roughly translated means "eager for dollars".
Salvador Dalí is a Spanish surrealist who led an eccentric life and whose works are characterized by complexity and symbolism.
Among his most popular works are The Persistence of Memory, The Basket of Bread, Leda Atomica, Swans Reflecting Elephants, Soft Construction with Boiled Beans and many more.
He had his first improvised exhibition organized by his father who displayed his charcoal drawings in their home when Salvador was 13 years old. Two years later he did his first public show.
He attended the Academia de San Fernando School of Fine Arts where his work was marked by experimentation with the Cubism and Dada movements. He was later expelled by the school after stating that no professor was qualified enough to examine him.
He also showed up for a lecture in London wearing a diving suit and a helmet. According to him, his outfit indicated his intend to dive into the human mind.
Many surrealists used to talk about Dalí in past tense, thus, implying he was dead to them.
It is a little known fact that Dalí has worked on quiet a few logos and advertisements, including one for the Eurovision Song Contest.
In 1980 Dalí’s career came to an end after his right hand started experiencing uncontrollable trembling. But the biggest blow to him came after the death of his wife. He spent the following 7 years of his life without much will to live until he died of heart failure at the age of 84 in his hometown of Figueres.
Dali was quoted as saying "Surrealism is me". Salvador Dali was a wealthy artist during his lifetime. He understood how to attract media attention and paved the way for media savvy artists like Pop Artist Andy Warhol. Dali had two museums dedicated to his life and work while he was still living. His works continue to fetch increasingly high prices in art auction houses throughout the world today. In this version, the landscape from the original work has been flooded with water. Disintegration depicts what is occurring both above and below the water's surface. The landscape of Cadaqués is now hovering above the water. The plane and block from the original is now divided into brick-like shapes that float in relation to each other, with nothing binding them, the tree from which the soft watch hangs being similarly segmented. The hands of the watches float above their dials, with several conical objects floating in parallel formations encircling the watches. The distorted human visage from the original painting is beginning to morph into another of the strange fish floating above it. However, to Dalí, the fish was a symbol of life.
To Dalí, this image was symbolic of the new physics—the quantum world which exists as discrete particles, rather than continuous waves. The imagery of original Persistence of Memory can be read as a representation of Einstein's Theory of Relativity, symbolizing the warping of spacetime by gravity. In this new work, quantum mechanics is symbolized by "digitizing" the old image.
The painting is currently owned by the Salvador Dalí Museum in St. Petersburg, Florida
The Metamorphosis of Narcissus (1937) is an oil-on-canvas painting by the Spanish surrealist Salvador Dalí. This painting is from Dalí's Paranoiac-critical period. According to Greek mythology, Narcissus fell in love with his own reflection in a pool. Unable to embrace the watery image, he pined away, and the gods immortalized him as a flower. Dali completed this painting in 1937 on his long awaited return to Paris after having had great success in the United States.
The painting shows Narcissus sitting in a pool, gazing down. Not far away there is a decaying stone figure which corresponds closely to him but is perceived quite differently; as a hand holding up a bulb or egg from which a Narcissus is growing. The egg has been used as a symbol for sexuality in other paintings by Dali. In the background, a group of naked figures can be seen, while a third Narcissus like figure appears on the horizon.
A long poem was written by Dalí to accompany the painting.
The Burning Giraffe (1937) is a painting by the Spanish surrealist Salvador Dalí. Dalí painted Burning Giraffe before his exile in the United States which was from 1940 - 1948. Although Dalí declared himself apolitical "I am Dalí, and only that"this painting shows his personal struggle with the battle in his home country. Characteristic are the opened drawers in the blue female figure, which Dalí on a later date described as "Femme-coccyx" (tail bone woman). This phenomenon can be traced back to Freud's psychoanalytical method, much admired by Dalí. He regarded him as an enormous step forward for civilisation, witness his remark. "The only difference between immortal Greece and our era is Sigmund Freud who discovered that the human body, which in Greek times was merely neoplatonical, is now filled with secret drawers only to be opened through psychoanalysis." The opened drawers in this expressive, propped up female figure thus refer to the inner, subconscious within man. In Dalí's own words his paintings form "a kind of allegory which serves to illustrate a certain insight, to follow the numerous narcissistic smells which ascend from each of our drawers.
The image is set in a twilight atmosphere with deep blue sky. There are two female figures in the foreground, one with drawers opening from her side like a chest. They both have undefined phallic shapes protruding from their backs which are supported by crutch-like objects. The hands, forearms and face of the nearest figure are stripped down to the muscular tissue beneath the skin. One figure is holding a strip of meat. Both human figures that double as a chest of drawers as well as the crutch like shapes are common archetypes in Dalí’s work.
In the distance is a giraffe with its back on fire. Dalí first used the burning giraffe image in his 1930 film L'Âge d'Or (The Golden Age). It appears again in 1937 in the painting The Invention of Monsters. Dalí described this image as “the masculine cosmic apocalyptic monster.” He believed it to be a premonition of war.
She leans on a single metallic bar railing in a rectangular doorway, perhaps on a ship, looking out over the sea. The sky is littered with stratocumulus clouds. Hovering around her are seven large stylized rhinocerous horns.
We have a view of her from the rear. She has flowing golden-brown hair with ringlets falling down across her shoulders. She is nude. We see an expanse of back, a breast, a nipple, her calves, the back of a knee, ankles, a foot. Two horns intersect and converge to give the impression we can see her ass. Two white globes of ass-cheek, which are and aren't hers. We see the tell-tale arc of skin where ass ends and thigh begins, but it's an illusion -- a convergence of horn, not her flesh.
Above the knee her body slides out of this reality and she becomes invisible. We see sea where there should be flesh. The metal railing breaks into pieces about the not-her, reforming on the other side. One piece encircles the tip of a horn -- a phallic horn poised to enter her from behind.
Only on the third or fourth glance did I notice the brown line running up each calf. It runs across the back of one ankle and around her left heel. She's wearing pantyhose. For some reason noticing this detail made me feel like I'd solved a puzzle. Dali does that; presents puzzles.
Young Virgin Auto-Sodomized by Her Own Chastity was created by Salvador Dali in 1954. It is part of the Playboy collection in Los Angeles, California.
Soft Construction with Boiled Beans (Premonition of Civil War) (1936) is a painting by Spanish Surrealist Salvador Dalí. Depicted is a grimacing dismembered figure symbolic of the Spanish state in civil war, alternately grasping upward at itself and holding itself down underfoot, a relationship morbidly prescient of Escher's later Drawing Hands (1948). The painting resides at the Philadelphia Museum of Art.
The painting, which was painted in 1936, is used to show the struggle of war that can sometimes be both self-fulfilling and self-mutilating at the same time. Despite his support of General Franco, Dalí was openly against war, and used this painting to show it. The boiled beans may refer to the ancient Catalan offering to the gods. The little man in the bottom left corner is a representation of the astonishing, awe-inspiring spirits contained in the souls of Anneke and Nikki van Lugo, childhood friends and muses of Dalí.
This is a painting by the surrealist artist Salvador Dali. The picture is really unique, displaying an imaginatively twisted scene and apparently displaying some kind of social message.
Objects in the picture:
a man (in the foreground)
monuments or edifices of some kind
more people (in background)
a barren landscape
This picture is visually very imaginative. The man in the front appears to be thrusting the crucifix out to halt the procession of animals with towers on their backs. I don't know the story behind the picture or what its elements represent. The eye is drawn most strongly to the horse rearing up in the foreground because it is the median between the lesser background figures and the lone man in the foreground. The eye is next drawn to the man holding the crucifix. The object placement seems to emphasize the upper left portion of the picture--it's a little lop-sided. The content itself is hugely surreal with the action clearly defined and the figures disproportionate (esp. the legs of the animals). The picture is full of action and emotion. It is just a visually appealing piece because of the exaggeration and surrealism.
The Lugubrious Game (or The Mournful Game) is a part oil painting and part collage on cardboard artwork created by Salvador Dali in 1929. It displays references to feces, sexual desire, castration and alludes to the “safety” of masturbation. Regarding the reference to feces you will note the gentleman at the bottom right of the painting is not wearing trousers and his undergarments are stained with fecal matter. The name of the painting was given by poet, Paul Éluard. The painting depicts a woman (Dalí's wife, Gala) sleeping while sunbathing naked during a calm day on rocks floating over the sea, possibly at Port Lligat. An elephant with incredibly long, extremely thin legs walks across the sea's horizon while carrying an obelisk. Near the woman float two drops of water and a small pomegranate. From a larger pomegranate comes a fish that spews a tiger from which comes another tiger, while in front of that second tiger a rifle's bayonet touches (or nearly touches) the woman's right arm. The bayonet, as a symbol of the stinging bee, may thus represent the woman's abrupt awakening from her otherwise peaceful dream. This is an example of Sigmund Freud's influence on surrealist art and Dali's attempts to explore the world of dreams in a dreamscape.
The bee around the smaller pomegranate is repeated symbolically. The two tigers represent the body of the bee (yellow with black stripes) and the bayonet its stinger. The fish may represent the bee's eyes, because of similarity of the fish's scaly skin with the scaly complex eyes of bees.
The elephant is a distorted version of a well-known sculpture by Bernini that is located in Rome. The smaller pomegranate floating between two droplets of water may symbolize Venus, especially because of the heart-shaped shadow it casts. It may also be used as a Christian symbol of fertility and resurrection. This female symbolism may contrast with the phallic symbolism of the threatening creatures.
It has also been suggested that the painting is "a surrealist interpretation of the Theory of Evolution."
In 1962, Dalí said his painting was intended "to express for the first time in images Freud's discovery of the typical dream with a lengthy narrative, the consequence of the instantaneousness of a chance event which causes the sleeper to wake up. Thus, as a bar might fall on the neck of a sleeping person, causing them to wake up and for a long dream to end with the guillotine blade falling on them, the noise of the bee here provokes the sensation of the sting which will awaken Gala."
A short, alternate title for the painting is "Sting Caused by the Flight of a Bee."
Living Still Life (1956) is a hand oil painting on canvas by the Spanish surrealist Salvador Dalí. The painting was originally known as Nature Morte Vivante and was Dalí's sixth masterwork. Dalí described the work as illustrating "the decomposition of a fruit dish." While the picture can be termed a still life, Dalí incorporates irony by making it evident that nothing in the image is actually still. Even the knife on the table, for example, although not seemingly moving at all is interpreted by the human brain to be in motion. The mind infers that no everyday object can simply hover in the air and that gravity must be pulling down on it; therefore, the knife must be in a falling motion. One hot August afternoon, in 1931, as Dali sat at his work bench nibbling at his lunch, he came upon one of his most stunning paranoiac-critical hallucinations. Upon taking a pencil, and sliding it under a bit of Camembert cheese, which had become softer and runnier than usual in the summer heat, Dali was inspired with the idea for the melting watches. They appear often throughout Dali's works, and are the subject of much interest. In short, this particular work, is an important referral back to Dali's Catalan Heritage, that was so very important to him. As with many artists, Dali was to depict war and conflict in several of his major works. Autumn Cannibalism was painted in 1936, the year the civil war began in Spain. The painting is an evocative interpretation of the horror and destruction of war, and also comments on the devoring nature of sexual relationships.
On a chest of drawers placed on a Catalonian beach sit the top halves of two people. They are so entangled that the viewer has to look carefully to see which arm belongs to which figure. One figure holds a fork pointed to the other one's head, while it dips a spoon into the malleable flesh. A languid hand holds a gleaming knife that has sliced into the soft flesh of the other. Their featureless heads merge into each other, their individuality becoming indistinguishable.
Pieces of meat are draped about the painting, symbolizing death. The meat also alludes to the temporary nature of life and to the bestial nature of human beings. On one head is an apple, which to Dali represented a struggle between father and son, (the son being the apple, the father William Tell), and beneath the figures is a peeled apple, symbolizing the destruction of the son.
According to Graphique de France, Allegorie de soie was painted in 1950 and is approximately 50.8 cm x 40.3 cm.The title means "Allegory of Silk". Sleep was painted for Edward James, a British millionaire who was Dali's patron from 1936 to 1939. Sleep deals with a subject that fascinated the Surrealists: the world of dreams. They believed that the freedom of the subconscious within sleep could be tapped into and then used creatively.
Sleep is a visual rendering of the body's collapse into sleep, as if into a separate state of being. Against a deep blue summer sky, a huge disembodied head with eyes dissolved in sleep, hangs suspended over an almost empty landscape. The head is "soft", appearing both vulnerable and distorted; what should be a neck tapers away to drop limply over a crutch. A dog appears, its head in a crutch, as if half asleep itself.
The head is propped above the land by a series of wooden crutches. The mouth, nose and also the eyes are all held in place by the crutches, suggesting that the head might disintegrate if they were removed. Crutches were a familiar sight in Dali's work. In The Secret Life of Salvador Dali, the artist wrote that he had imagined sleep as a heavy monster that was "held up by the crutches of reality".
The Great Masturbator (1929) The Great Masturbator is a self-portrait painted in July 1929. Dali's head has the shape of a rock formation near his home and is seen in this form in several paintings dating from 1929. The painting deals with Dali's fear and loathing of sex. He blamed his negative feelings toward sex as partly a result of reading his father's, extremely graphic book on venereal diseases as a young boy.
The head is painted "soft", as if malleable to the touch; it looks fatigued, sexually spent: the eyes are closed, the cheeks flushed. Under the nose a grasshopper clings, its abdomen covered with ants that crawl onto the face where a mouth should be. From early childhood, Dali had a phobia of grasshoppers and the appearance of one here suggests his feelings of hysterical fear and a loss of voice or control.
Emerging from the right of the head, a woman moves her mouth toward a man's crotch. The man's legs are cut and bleeding, implying a fear of castration. The woman's face is cracked, as though the image that Dali's head produces will soon disintegrate. To reiterate the sexual theme, the stamen of a lily and tongue of a lion appear underneath the couple.
Shades of Night Descending (1931) The obsessive character of this work is made evident by one of the less important elements and the least noticed by the viewer: the measureless shadow which is spread out in the bottom part of the canvas. Its obsessional power is obtained by having in the center a rock whose shadow is much less dense that that of the one in the foreground. In appearance this reef seems to be a rock like the others; however, it is already constructed in such a way that its shadow bears a resemblance, due to its design, to the one in the foreground. Their source is moreover quite different, and it is there that the painter has successfully applied his famous paranoiac-critical method.
The shadow in the foreground is that of a concert grand piano, an instrument which holds a predominant place in many of Dali's Surrealist compositions, such as Diurnal Illusion: the Shadow of a Grand Piano Approaching, 1931; Average Bureaucrat; Six apparitions of Lenin on a Grand Piano, 1931; or Myself at the Age of Ten When I Was a Grasshopper Child, 1933. This piano is "the one that belonged to the Pichots with its shadows," Dali relates; "I was impressed by these shadows in the setting sun, near the tall cypress in the interior court of the house, and another time when they had brought the instrument onto the rocks beside the water." The spectral victory standing in the lower-right corner of the picture is concealing heteroclite objects, half-hidden under the drapery in whose tortured folds the figure is wrapped. Two of these things, a glass and a shoe, are used with the same impact to stretch out the skin on the back of the figure in Diurnal Illusion. Speaking of his fetishism, Dali has said, "It was a question of all the fetishes and slippers of my childhood fossilized underneath the membranes of my anguish, all mimetized at Cap Creus." Shoe fetishes appear often in scenes of "bureaucratic cannibalism," where one can see the most varied figures: a girl, Nietzche, or Maxim Gorky devouring a high-heeled shoe.
Eggs on the Plate Without the Plate (1932) Dali tells us that this work was inspired by an intra-uterine memory. He says that one day, after vigorously rubbing his eyes, he became fascinated with the brilliant yellow, orange, and ochre colors he saw. As a result, he says, he had a flashback to his mother's womb, and created this paranoiac-critical explanation of the experience.
Suspended on a string, in the center of the work is a single egg yolk, which Dali said represented himself in the womb. Below that, the two eggs on the plate (curious, that plate, look at the title again) were painted with a shimmering yolk. These represented the piercing gaze of Gala Dali, whom Dali had met in 1929. At the time, she had been the darling of the Surrealist movement, not to mention the wife of Paul Eluard, the French poet. It was said that her gaze could pierce through walls, and Dali is paying her homage here.
A large, cubist building dominates the scene, while other objects are attached to the wall facing the eggs. First is a small, dripping watch, a continuation of the theme of the melting watches done in The Persistence of Memory. Above that is a phallic ear of corn, representing male sexuality. Just to the left of the ear of corn is a window in the building, and standing in it, looking out through another window, are the father and son figures that were originally painted in The First Days of Spring, some three years ago. Off in the distance are the rocks of Dali's homeland.
Angelus (1932 “ Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision. “ Have no fear of perfection - you'll never reach it. ” “ Intelligence without ambition is a bird without wings. ”