"...just because I don't know the meaning of my art, does not mean it has no meaning..." S.D.
Self-portrait ● Primer autorretrato ● Premier Auto-Portrait
Salvador Dalí, 1921. Oil on cardboard, 47 x 30 cm
Dalí Museum-Theatre, Figueras, Spain
● This self portrait, made when Dalí was about seventeen, shows his inner attitude and potential.
Person at the Window ● Figura asomada a la ventana ●
Person am Fenster
Salvador Dali, 1925 - Oil on canvas, 103 x 75 cm - Museo Nacional Reina Sofía, Madrid.
● Landscape, glass reflection, and a person. The light on the back of the girl (Ana Maria, his sister), enhances one of Dali’s favorite employed elements. The landscape behind the window is the bay of Cadaqués, where Dalí used to stay in the summer. Garcia Lorca kept great memories about the view from that window at the awakens, he described his stay in Cadaqués, like wonderful, as a beautiful dream. Salvador and Ana Maria were very close each other, particularly after the death of their mother. Ana Maria was her only female model until Gala replaced her in 1929. After Ana Maria in a book described her brother in a way that he doesn’t like, Dalí painted another version of this picture with the title “Young Virgin Buggered By Her Own Chastity” (1954).
Back of Girl ● Muchacha De Espalda ● Noia d' Esquena
Salvador Dalí, 1925 - Oil on canvas, 103 x 73.5 cm - Museo Nacional Reina Sofía, Madrid.
● Again, like in the “Person at the Window” (1925), Dalí shows his sister Ana Maria from her back. This time the girl is seated, more relaxed; and although its face does not appear in the image, her glance is the main idea of the painting. The same matices of the skin and the dress of Ana Maria, are used by Dalí for the roofs and the walls of the buildings.
Still Life with Moon light ● Naturaleza muerta con luz
de luna ● Stilleben im Mondlicht
Salvador Dalí, 1925. Oil on canvas
Basket of Bread ● Cesta de Pan ●
Corbeille de pain
Salvador Dalí, 1926 - Oil on panel, 12 3/8 x 12 3/8" - The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
● The quality of this painting contributed to the international recognition of Dalí. It was exposed along with two other works in 1928 in Pittsburg, Pennsylvania, in the third annual International Carnegie Exhibition.
Woman At the Window - The Girl of Figueras ● Mujer en
una ventana - La muchacha de Figueras
Salvador Dalí, 1926 - Oil on canvas - Colección Juan Casanelles, Barcelona, España
● This painting may be related to "The Lacemaker" a masterpiece of the seventeenth-century Dutch painter Jan Vermeers. Later, Dali will work again on this theme incorporating curves from the rhino's horn.
Still Life by the Light of the Moon ●
Naturaleza muerta a la luz de la luna ● Fische und Balkon
Salvador Dalí, 1927. Oil on canvas, 75 x 55 1/8
Fundación Gala-Salvador Dalí, Figueras, Spain
● Dali approached most of the well-known painting styles. He felt great admiration for Picasso, whom he visited in Paris, before going to the Louvre.
Little Ashes - Summer Forces - The
Birth of Venus ● Cenicitas - Fuerzas de verano - El nacimiento de Venus
● Ou:forces Estivales Et Naissan
Salvador Dali, 1927 - Oil on canvas, 64 x 48 cm. - Museo Español del Arte contemporáneo, Madrid.
● He painted this while he was in military service, it’s a collection of memories. Regarding the flies in the picture, he said: “…the doses of action that God uses to indicate men the way to one of the most intricate laws of the universe”
Unsatisfied Desires ● Deseos insatisfechos ● Les
Salvador Dalí, 1928 - Oil, seashells, and sand on cardboard. 76 x 62 cm - Private Collection.
● Dali wanted to present this painting in the Maragalls art gallery at Barcelona. However, it was refused due to its contents, believing some viewers would find it offensive.
Imperial Monument to the Child-Woman
● Monumento imperial a la mujer-niño
Salvador Dalí, 1929. Oil on canvas, 56 x 32"
Fundación Gala-Salvador Dalí, Figueras, Spain
● Some of the elaborated shapes in this painting came out from other elements. A Lyon’s head at the end represents repressed sexual desires.
The Enigma of Desire: My Mother, My Mother, My Mother
● El Enigma del deseo: Mi madre, mi madre, mi madre ● L Enigma del
Desiderio ● Das Raetsel der Begierde
Salvador Dali, 1929 - Oil on panel, 30 x 52 cm - Staatsgallerie moderner Kunst, Munich.
● With elements like rocks, insects, shells and hollows; Dalí expresses complex feelings toward his mother, who was very devoted to him. The rock with hollows, is the central element of another painting of Dali, “Oedipus Complex” (1930). The proximity and location of a human shape in relation to the rock helps to explain the title and the symbolism used by the painter. Notice also, in the bottom left of the picture, a hug between Salvador and his father. In relation to the lion head, Freud wrote that the presence of a wild animal represents sexual urges that a person is afraid of letting go.
The Great Masturbator ● El gran masturbador ● Le
Salvador Dali, 1929 - Oil on canvas, 110 x 150 cm. - Museo Nacional Reina Sofía, Madrid.
● He painted it just before meeting Gala. His needs in Paris by that time became his grief. It’s a self-portrait where their sexual desires and fears are reflected. By then Dalí was still a virgin. His shyness was influenced by the knowledge obtained through his father’s books of the reach of venereal diseases. Among several symbols, the following ones stand out: the grasshopper, who terrified Salvador; the head of a lion alluding repressed desires; and a flower-vessel that near the chest of the woman, hopes to be filled.
Illumined Pleasures ● Placeres iluminados ● Piaceri
Salvador Dali, 1929 - Oil on panel, 24 x 34.5 cm. - The Museum of Modern Art, New York.
● In this painting Dalí shows his skill with miniatures. He includes symbols already used in “The Enigma of Desire: My Mother, My Mother, My Mother. L Enigma del Desiderio” (1929) and in “The Great Masturbator” (1929). In the left box, a man shoots to a rock that bleeds. The style is the one of Rene Magritte, whose work influenced Dalí. Both painters had the opportunity to know each other personally. In the right box, there are men riding bicycle with stones in their heads. A similar scene, but with fiancées carrying rocks, is the main motive for “Colloque Sentimental” (1944).
The First Days of Spring ● Los primeros dias de
primavera ● I Primi Giorni di Privavera
Salvador Dali, 1929 - Oil and collage on panel, 49.5 x 64 cm. - The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
● This is one of the first pictures where Dali shows what will be his contribution to the surrealist movement. Using the acquired abilities, meticulously painted the results of a non-censored imagination. In relation with the subject, it seemed that in his liberation the role of his father is the most important of all. Salvador received from his father support and unconditional understanding until it was evident… in his ambition, Dali was ready to defy to the authority of his own father. The painter left us plenty of evidence on how difficult and traumatic his father’s distantness was for him.
The Invisible Man ● El hombre invisible
Salvador Dalí, 1929 - Oil on canvas, 140 x 180 cm. - Museo Nacional Reina Sofía, Madrid.
● The Invisible Man. Salvador Dalí, 1929. It was the first painting in which Dalí used double images. In this case a new image is formed from other objects, like was done by Milan painter Giuseppe Arcimboldo (1527-1593). Dalí however, also uses shades to form the image. The generation of multiple images will be one of the characteristics of his critical-paranoiac method.
Premature Ossification of a
Railway Station ● Osificación prematura de una estación ferroviaria ●
Salvador Dalí, 1930. Oil on canvas 27 x 31.5 cm
● Desert landscape where often present in Dali’s work, also a cypress tree like the isolated one at the upper left corner. But the most interesting thing is the wall clock; it is deformed and in a few months is going to be transformed into the famous melting clocks.
The Persistence of Memory ● La persistencia de la
memoria ● Persistance De La Memoire
Salvador Dali, 1931 - Oil on canvas, 24 x 33 cm - The Museum of Modern Art, New York.
● Here Dalí introduces his melted watches. He said that they are nothing else, but the Camembert cheese of space and time; tender, outlandish, solitary and critical-paranoiac. In this self-portrait, a Dali similar to which appears in “The Great Masturbator” (1929), is at rest and with his tongue outside. Besides the insects, he is alone in a desolate and warm landscape. In these conditions, the perception of time and space and the behavior of the memories, acquire soft forms that adjust themselves to the circumstances. Twenty years later in “The Disintegration of the Persistence of Memory” (1952), Dali broke these images incorporating knowledge of the consequences of the destructive use of atomic energy.
Evocation of the Apparition of Lenin -Partial
Hallucination - Six apparitions of Lenin on a Grand Piano ● Evocación de
la aparición de Lenín - Alucinación parcial - Seis aparariciones de
Lenín sobre un piano de cola ● Hallucination partielle - Six apparitions
de Lenine sur un piano ● Beschwoerung einer Lenin-Erscheinung
Salvador Dalí, 1931 - Oil on canvas, 114 x 146 cm - Musée National d´Art Moderne, París.
● Dalí wasn't identified with the revolutionary tendencies of the Paris surrealist group. To Dali, a dark cluster of ants was a symbol of death and decay.
The Birth of Liquid Desires ● El nacimiento de los
deseos líquidos ● Nascita Dei Desideri Liquidi ● Die Geburt der
Salvador Dali, 1932 - Oil on canvas, 95 x 112 cm - Peggy Guggenheim Collection, Venezia
● This is a man at the entrance of a cave. Everything starts in his head, at this point his partner’s head is only a bunch of flowers, liquid begins to flow controlled by another entity that doesn’t want to be involved.
Fried eggs on the plate without the plate ● Huevos
fritos en un plato sin el plato ● Uova sul Piatto ● Spiegeleier
Salvador Dali, 1932 - Oil on canvas, 60 x 42 cm - The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
● This painting shows Dalí’s memories before he was born. He is hanging from a string not too far from other objects that may be associated with his father, his sister and his brother.
Nostalgia of the Cannibal ● La nostalgia del caníbal
● La nostalgie du canibale
Salvador Dalí, 1932. Oil on canvas, 47.2 x 47.2 cm. Sprengel Museum, Hannover.
Spring Flowering From A Piano ● Fuente necrofílica
manando de un piano de cola ● Fontaine nécrophiliaque coulant d'un piano
Salvador Dalí, 1933 - Oil on canvas, 22 x 27 cm - Private Collection.
● This is a variation of the subject painted in “Mysterious Sources of Harmony” (1932-33). It has to do with the outdoor concerts that the Pitchot family organized, they were very close friends to Dalí and had much influence in his artistic inclinations.
Millet's Architectonic Angelus ● El Angelus
arquitectónico de Millet ● L'Angelus arquitectonic de Millet ● Das
architektonische Angeluslaeuten von Millet
Salvador Dalí, 1933 - Oil on canvas, 73 x 61 cm - Museo Nacional Reina Sofía, Madrid.
● The couple in “L’angelus” from Jean-François Millet, is transformed into two big white stones: young Dali and his father underneath the male stone, and a female stone using a crutch. Dali pointed out that although the male stone on the left appears to be dominant due to it’s size, the female stone is the aggressor here; pushing out part of herself to make physical contact with the male.
To Become Geologique ● El devenir geológico ● Devenir
Salvador Dali, 1933. Private Collection.
Portrait of Gala with Two Lamb Chops Balanced on Her
Shoulder ● Portarretrato de Gala con dos chuletas de cordero sobre sus
hombros ● Gala avec Cotelettes
Salvador Dali, 1933. Oil on olive wood, 6 x 8 cm
Fundación Gala-Salvador Dalí, Figueras, Spain
● He thought that if he liked chops and he liked his wife, why couldn’t he paint them together?
Apparition Of My Cousin Carolinetta ● Aparicion de mi
Salvador Dalí, 1934. Oil on canvas, 73 x 100 cm. Private Collection.
Atavistic Vestiges after the Rain ● Vestigios atávicos
después de la lluvia ● Vestiges Ataviques Apres la Pluie
Salvador Dali, 1934 - Oil on canvas, 65 x 54 cm - Perls Galleries, New York.
● Here a man and a child (probably Dali and his father) are going to walk under a rock that isn’t very stable. The father is indicating something to the child, while the other seems to be leading the path. On the other hand, this rock is very similar to the one that appears in “Millets Architectonic Angelus” (1933), and represents a feminine figure.
The Ghost of Vermeer of Delft Which Can Be Used As a
Table ● El fantasma de Vermeer de Delft que puede ser usado como una
mesa ● Lo Spettro di Vermeer
Salvador Dali, 1934. Oil on panel, 24 x 18 cm. The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
Morning Ossification of Cypress Tree ● Osificación
matinal del ciprés ● Ossification matinales du cypres
Salvador Dalí, 1934. Oil on canvas, 82 x 66 cm. Private Collection, Milano.
Masochistic Instrument ● Instrumento masoquista
Salvador Dalí, 1934. Oil on canvas, 62 x 47 cm
Private Collection (former Countess Pecci-Blunt collection)
● Beside clocks, Dali took off the rigidity from many objects. He did it often with string instruments, as in this case, with the violin held by a woman. Other elements like this wounded cypress tree, this style of window and the woman breasts, can be also found in other painter’s works.
The Specter of Sex Appeal ● El espectro del
Salvador Dalí, 1934. Oil on canvas, 18 x 14 cm
Fundación Gala-Salvador Dalí, Figueras, Spain
● In this painting Dalí the child is at the beach, surrounded by rocks in a very similar environment to one that he knew in his childhood. He’s watching a woman’s body whose parts are kept together in part by the action of the crutches. It seems that the center of his curiosity were the breasts and their content.
Face of Mae West Which May Be Used as an Apartment ●
El rostro de Mae West que puede ser usado como un apartamento ● Il Volto
Di Mae West
Salvador Dali, 1934-35. Gouache on newspaper, 31 x 17 cm. The Art Institute of Chicago, Chicago, Il.
Costume for Tristan the mad; The Boat
● Traje para Tristán el loco; El Barco ● Costume pour Tristan fou; Le
Salvador Dalí,1934-1936. Oil on canvas, 29.5 x 22.5 cm. Private Collection.
Millet's Architectonic Angelus ● Reminiscencia arquelogica del angelus de Millet ● Reminescense Archeologique de L Angelus de Millet
Salvador Dali, 1935 - Oil on panel, 32 x 39 cm - The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
● Based on the painting “L’angelus” from the French painter Jean-François Millet (1814 - 1875). Dali thought that there was something hidden in the canvas due to the presence of a feeling of anguish. He also believed that the subject was not only the reverent spirit of the prayer but in addition, there was a repression of sexual type. In 1963, an x-ray revealed that Millet had painted between the farmers, the coffin of a boy. This part was painted over by the artist to make the picture more saleable.
Woman with a Head of Roses ● Mujer con cabeza de
rosas ● Femme a Tete de Roses ● Die Frau mit dem Rosenkopf
Salvador Dali, 1935 - Oil on wood, 35 x 27 cm - Kunsthaus Zurich, Zurich.
● Dalí often replaced the human head with other heads or objects. He dislikes the lack of intelligence and excess of perfumes of rich people around the surrealist group.
Portrait of Gala ● El Angelus de Gala ● L'Angelus d
Salvador Dalí, 1935 - Oil on panel, 32 x 26 cm - The Museum of Modern Art, New York.
● In this painting Gala has an unusual severe expression because of the obsession and restlessness that Dali had about the picture “L’angelus” from the French painter Jean-François Millet (1814 - 1875). Dali thought that there was something hidden in the canvas due to the presence of a feeling of anguish. He also believed that the subject was not only the reverent spirit of the prayer but in addition, there was a repression of sexual type. In 1963, an x-ray revealed that Millet had painted between the farmers, the coffin of a boy. This part was painted over by the artist to make the picture more saleable. Simply said; the imagination, the sensitivity, and the intelligence that Salvador had seems to have no limits.
Paranoiac-Critical Solitude ● Soledad
Salvador Dalí, 1935. Oil on panel, 19 x 23 cm. Private collection (former Edward James collection).
The City Of The Drawers ● La Ciudad de los Cajones
Salvador Dali, 1936 - Oil on wood, 25.4 x 44.2 cm - Kunstsammlung Nordrhein-Westfalen, Dusseldorf.
● Dalí said: “The only difference between the immortal Greece and contemporary times is Sigmund Freud, who discovered that the human body, purely platonic at the Greece epoch, nowadays is full of secret drawers that only the psychoanalysis is capable to open”.
Metamorphosis of Narcissus ●
Metomorfosis de Narciso
Salvador Dali, 1936-37 - Oil on canvas, 50.8 x 78.3 cm - The Tate Gallerie, London.
● Dalí said that it was all about the death and petrifaction of Narcissus, who fell in love with his own reflection and was transformed into the flower that bears his name. Sigmund Freud once commented: “I’ve never seen such a perfect example of Spanish man before, what a fanatic!”
Autumnal Cannibalism ● Canibalismo otoñal
Salvador Dali, 1936-37 - Oil on canvas, 65 x 65.2 cm - The Tate Gallerie, London.
● This complex painting shows two people who are feeding themselves. The act implies pleasure and wearing. It was painted at the beginning of the Spanish civil war. Here; pleasure, wearing, decay, and death are mixed.
Soft Construction 1936
Soft construction with boiled beans - Civil War
premonition ● Construcción blanda con judías hervidas. Premonición de la
Salvador Dali, (1936) - Oil on canvas, 100 x 99 cm - The Philadelphia Museum of Art (The Louise and Walter Arensberg Collection), Philadelphia.
● This painting was finished six months before the Spanish Civil War. Various parts of one same body are hurting each other; it's Dali’s report concerning the atrocities of such event. The beans are offerings that attenuate evil spirits. Pressured to pronounce himself politically, Dalí stated that he was not Hitlerian or Stalinist, that he was simply "Dalinian".
Sun Table ● Mesa Solar ● Table solaire
Salvador Dalí, 1936. Oil on panel, 60 x 40 cm. Museum Boymans-van Beuningen, Rotterdam.
Female Figure With Head of Flowers ●
Figura femenina con cabeza de flores
Salvador Dalí, 1936. Private Collection.
Suburbs of a Paranoiac-Critical Town:
Afternoon on the Outskirts of European History - Alrededores de la
ciudad paranóico-crítica: tarde al borde de la historia europea -
Banlieu de la Ville Paranoia Apres-Midi. Salvador Dalí, 1936. Oil on
canvas, 90 x 115.5 cm.
Museum Boymans-van Beuningen, Rotterdam.
● This is just part of the critical-paranoiac city because Dalí himself is not there, Gala instead, is offering grapes.The contour of the objects in the first plane has the same shape of the palace in the background.
The burning giraffe ● Jirafa ardiendo
● Girafe En Feu ● Die brennende Giraffe
Salvador Dali, 1936-37 - Oil on panel, 35 x 27 cm - Kunstmuseum Basel.
● Two ideas are connected; the Spanish civil war and his illustration of Freud’s discovery, using secret drawers that only psychoanalysis is capable to open.
Swans Reflecting Elephants ● Cisnes que se reflejan
como elefantes ● Cygnes Reflechis en Elephants
Salvador Dali, 1937 - Oil on canvas, 51 x 77 cm - Cavalieri Holding Co. Inc., Geneva.
● Dalí employed his critical–paranoiac method to make elephants appear from the reflection in the water of the swans.
Sleep ● El sueño ● Le Sommeil
Salvador Dali, 1937 - Oil on canvas, 51 x 78 cm - Private Collection.
● According to Dalí, the act of sleeping was a sort of monster sustained by the crutches of reality.
Invention of Monsters ● La invención de los
monstruos ● L'invention des monstres
Salvador Dalí, 1937 - Oil on panel, 51.2 x 78.5 cm - The Art Institute of Chicago (Joseph Winterbotham Collection), Chicago, Il.
● Dali wrote the following explanation: "…According to Nostradamus, the apparition of monsters is a presage of war. This canvas was painted in the mountains of Semmering* a few months before the Anschluss** and it has a prophetic character. The women-horses represent the maternal river-monsters, the flaming giraffe the male cosmic apocalyptic monster. The angel-cat is the divine heterosexual monster, the hour-glass the metaphysical monster. Gala and Dal? together the sentimental monster. The little lonely blue dog is not a true monster."* [South of Vienna] * *[Annexation of Austria into the German Reich]
Average Pagan Landscape ● Paisaje
pagano promedio ● Paysage Paien Moyen
Salvador Dalí, 1937. Oil on panel, 38 x 46 cm. Private collection (former Edward James collection).
Spain ● España
Salvador Dali, 1938 - Oil on canvas, 91.8 x 60.2 cm - Museum Boymans-van Beunigen, Rotterdam.
● Two images; a beautiful lady and people at battlefield. In 1939 people visited Dali's studio in Paris to attend the critical-paranoiac exhibition. Among them, Picasso was the first to arrive and the last to leave, and specially asked to see “Spain”.
Apparition of a Face and Fruit Dish on a Beach ●
Aparición de un rostro y un frutero sobre la playa
Salvador Dali, 1938. - Oil on canvas, 114.8 x 143.8 cm - Hartford (Conn.) The Ella Gallup Sumner and Mary Catlin Sumner Collection.
● Here we have many overlapped images. Dalí said that the ambiguity inside an image makes a new image appear and that this process can be extended; the amount; of images is only limited by the intellect’s paranoiac capacity.
Enchanted Beach With Three Fluid Graces ● Playa
encantada con tres gracias fluidas
Salvador Dali, 1938. Oil on canvas, 65 x 81 cm. The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
● As example of his critical-paranoiac method, the heads of the women may be objects in the background, or in the case of the third woman the absence of something (A hole in the rock).
Impressions of Africa ● Impresiones africanas ●
Salvador Dalí, 1938. Oil on canvas, 91.4 x 117.5 cm, Museum Boymans-van Beuningen, Rotterdam.
● It seems that Dali never visited Africa, nevertheless since his childhood, the painter must have known many aspects of this continent.
The Endless Enigma ● Enigma sin fin ● L'Enigme Sans
Salvador Dalí, 1938 - Oil on canvas, 114.3 x 144 cm - Museo Nacional Reina Sofía, Madrid.
● In this painting Dali extends the amount of overlapped images by the use of his critical-paranoiac method. It was painted in Dali's studio at Coco Channel's villa, “La Pausa”, in Roguebrune on the Cote d'Azur.
Sublime Moment ● El momento sublime ●
Le moment sublime ● Der erhabene Augenblick
Salvador Dalí, 1938. Oil on canvas, 39 x 47 cm. Staatsgalerie Stuttgart, Stuttgart.
Transparent Simulacrum of the Feigned Image ● El
simulacro transparente de la falsa imagen ● Le simulacre transparent de
la farsse image ● Das durchsichtige Scheinbild
Salvador Dalí, 1938. Oil on canvas, 73.5 x 92 cm. Albright Knox Art Gallery, Buffalo, N.Y.
Mountain Lake - Beach with Telephone ● Lago de
montaña - Playa con teléfono
Salvador Dalí, 1938 - Oil on canvas, 73.6 x 92 cm - The Tate Gallery (Former "Edward James Collection"), London.
● This is about the telephone negotiations between Camberlain and Hitler. Kristen Bradbury: "...hanging by a crutch, signifying the fragility of the peace that the telephone negotiation have created.". Paul Moorhouse: "...The receiver hangs from a crutch, its cord draped limply from a second, similar support, suggesting that the lines of communications are dead."
Ballerine in a Death's Head ●
Ballerine en cabeza de muerte ● Ballerine et Tete de Mort
Salvador Dali, 1939. Oil on canvas, 24.5 x 19.5 cm - Merz Collection.
Salvador Dali, 1939. Rita Green Collection, Zurich.
Honey is Sweeter
than Blood ● La miel es más dulce que la sangre ● La miel est plus doux
que le sang
Salvador Dalí, 1941. Oil on panel, 49.5 x 60 cm.
The Santa Barbara Museum of Art, Santa Barbara, CA.
Poetry of America - The Cosmic Athletes ● Poesia
americana - Los atletas cosmicos ● Poesie D`amerique
D`amerique. Salvador Dali, 1942. Fundación Gala-Salvador Dalí, Figueras.
● A painting made in honor of America; two athletes, one white and one black, collect what seems to be a sub-product of a coca-cola bottle. In the back, hanging from a clock, there’s a soft and leaking Africa.
Nude on the Plain of Rosas (Wall Decoration for
Helena Rubenstein) ● Desnudo en la llanura de rosas (Mural para Helena
Rubenstein) ● Nu dans la plaine de rosas
Salvador Dali, 1942 - Oil on canvas, 50 x 50 cm - Yokohama Museum of Art, Yokohama.
● This was part of a decoration that Dalí made for Helena Rubinstein’s apartment.
Two Harlequins ● Dos Harlequines ● Die zwei Harlekine
Salvador Dalí, 1942. Private Collection.
La Navire (Wall Decoration for Helena Rubinstein, Panel
1) ● El Barco. Traje para Tristán el Loco (Mural decorativo para Helena
Salvador Dalí, 1942. Yokohama Museum of Art, Yokohama.
Virgin Mary holding the infant Jesus - Motherhood of
birds. La Virgen Maria cargando al nino Jesus - Maternidad de los
Salvador Dalí, 1942.
Geopoliticus Child Watching the Birth of a New Man ●
Niño geopolítico observando el nacimiento del hombre nuevo
Salvador Dali, 1943 - Oil on canvas, 45.5 x 50 cm - The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
● A woman showing her child the new American culture. Regarding the mother’s feeling, there are various possibilities.
The Ship ● El barco ● La navire
Salvador Dali, 1942-1943. The Salvador Dalí Museum, St Petersburg, Fl, USA.
Dream Caused by the Flight of a Bee around a
Pomegranate One Second Before Waking Up - Gala and the Tigers ● Sueño
causado por el vuelo de una abeja alrededor de una granada un segundo
antes del despertar - Gala y Tigres ● Reve Cause Par Le Vol D'une
Abeille Auto ● Die zerstoerte Der Flug einer Biene
Salvador Dali, 1944 - Oil on canvas, 51 x 40.5 cm - Museo Thyssen, Fondazione Thyssen-Bornemisza, Lugano-Castagnola.
● Dalí illustrates another Freud’s discoveries. He said: “…a typical dream with a long theme, the consequence of a sudden accident that causes the awakening.”
Apotheosis of Homer ● La apoteosis de Homero ●
Salvador Dali, 1944-45. Staatsgallerie Moderner Kunst, Munich.
● He said that this is a detailed narration of the world of blind-people.
Sentimental Colloquy (Study for a Ballet) ● Coloquio
sentimental (estudio para un ballet) ● Colloque Sentimental
Salvador Dali, 1944. Oil on canvas, 10 5/8 x 16 1/8" The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
Paranoia (Surrealist Figures) ●
Paranoia ( Figuras surrealistas) ● Figures Surrealistes
Salvador Dali , 1944. Oil on panel 35 x 23.7 cm. Private collection.
Mi mujer 1945
My Naked Wife Watching Her Body ● Mi
mujer desnuda contemplando su propio cuerpo convirtiéndose en escalera,
tres vértebras de una columna, cielo y arquitectura ● Ma Femme, Nue,
Regardant son Popre Corps
Salvador Dali, 1945. José Mugrabi Collection, New York.
● Dalí makes an architectural composition of his wife’s shapes, combining a very intense femininity with a great management of classical techniques.
Idylle Atomique ● Idilio atomico
Salvador Dalí, 1945. Museo Nacional Reina Sofía, Madrid.
Portrait de un femme passionate ● Portaretrato de una mujer
Salvador Dalí, 1945
The broken Bridge of the Dream ● El puente roto del
sueño ● Bruecke und der Traum
Salvador Dalí, 1945. The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
Mirage. Desert Trilogy. Apparition of a Woman and
Suspended Architecture in the Desert, for "Desert Flower" perfume ●
Mirage - Trilogia del desierto - Aparicion de una mujer y arquitectura
suspendida en el desierto, para "Desert Flower"
Salvador Dalí, 1946. Oil on canvas, dimensions unknown. Private collection.
The Temptation of St. Anthony ● La tentacion de San
Antonio ● Die Versuchung des Heiligen Antonius
Salvador Dali, 1946. Musées Royaux des Beaux-Arts de Belguique, Brussels.
● Here St. Anthony tries to protect himself from several kinds of temptations. This was painted for a film contest, he didn’t win. By that time he was making paintings for the set of an Alfred Hitchcock film.
Annunciation ● La anunciación ● L'announciation
Salvador Dalí, 1947. Private Collection.
Las tres esfinges de bikini ● Les trois sphinx de
Salvador Dalí, 1947. Private Collection, Geneva.
Portrait of Picasso ● Portarretrato de
Salvador Dali, 1947. Oil on canvas, 64.1 x 54.7 cm
Fundación Gala-Salvador Dalí, Figueras, Spain
● Dali studied all great masters and showed respect for most of them. When Dali visited Picasso in Paris, he let Picasso know that he was visiting him before going to the Louvre, Picasso replied: “you did the right thing”. In the painting however, the musical instrument that the subject is offering out coming from his intellect, looks rather small. Even with the presence of flowers, the expression isn’t a friendly one. Perhaps Dali thought that Picasso’s perception capabilities were limited somehow (Nose) and that he also carried a great sense of guilt (Stone on the head).
The Elephants ● Elefantes
Salvador Dali, 1948. Private Collection.
● These elephants with arachnid legs were included in “The Temptation of St. Anthony”. Here, the loads on the elephants’ backs are floating.
Sans Titre '48
Without Title ● Sin titulo ● Sans Titre
Salvador Dalí, 1948.
LElephante Giraffe ● El elefante-jirafa
Salvador Dalí, 1948
● Nude in the Desert
Landscape ● Desnudo en el desierto (Bestias salvajes en el desierto) ● Nu dans le désert
Salvador Dalí, 1948. Private Collection.
Madonna of Port Lligat (second version). ● La Madonna
de Port Lligat
Salvador Dalí, 1950. Oil on canvas 144 x 96 cm
Minami Group Collection, Tokio.
● There are three paintings with this same title. In the first one, a 48.9 x 37.5 cm Oil on Canvas (1949) at Marquette University of Milwaukee, the Madonna has her head tilted slightly to her left side. In the second one -shown here- (1950), the Madonna’s head is tilted to her right side. The third one (1950) at the Lady Beaverbrook Collections in New Brunswick Canada, is a huge 12 x 8 ft oil on canvas, again with a square hole in Madonna’s chest. The square hole is repeated in baby Jesus chest with the Eucharistic bread inside.
Drawing for ''Christ of St. John of the Cross'' ●
Estudio para el "Cristo de San Juan de la Cruz"
Salvador Dalí, 1951. The Salvador Dalí Museum, St Petersburg, Fl, USA.
Christ of St. John of the Cross ● Cristo de San Juan
de la Cruz
Salvador Dali,1951. The Glasgow Art Gallery, Glasgow.
The Disintegration of the Persistence of Memory ● La
desintegración de la persistencia de la memoria
Salvador Dali, 1952-54 - The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
● Dali comments about this painting: “…After twenty years of immobility, the soft watches are themselves dynamically disintegrating...” Here, Dali broke the images of its famous painting “The Persistence of Memory” (1931). During the last twenty years the painter has been affected by the consequences of several wars, particularly by the destructive use of the nuclear energy. Apart of this warlike use, this invention like many other advances of the human knowledge, interested the Painter, who frequently included them in his works.
Galatea of the Spheres ● Galatéa de
las esferas ● Galatée aux spheres
Salvador Dalí, 1952. Fundación Gala-Salvador Dalí, Figueras.
Virgin Buggered By Her Own Chastity ● Joven virgen
sodomizada por su propia castidad ● Giovane Vergine Sodomizzata
Salvador Dali, 1954 - Playboy Collection, Los Angeles.
● Dali commented: "The rhino horn is indeed the legendary unicorn horn, symbol of chastity. The young lady may choose to lie on it or to morally play with it; as it was usual in courtesan love epochs".
Soft Watch At Moment of First Explosion ● Reloj
blando en el momento de su primera explosion
Salvador Dali, 1954 - Ink on paper, 14 x 19.1 cm - Private Collection.
● This represents the idea of the dynamical disintegration of one of his most characteristic elements, the soft watch. He was very interested on theories related to matter composition.
Crucifixion (Corpus Hypercubus) ● Die Kreuzigung
Salvador Dali, 1954. The Metropolitan Museum of Art, New York
Symphony in red ● Sinfonía en rojo ● Symphonie en
Salvador Dalí, 1954. Private Collection.
Last Supper '55
Sacrament of the Last Supper ● La última cena ● Das
Salvador Dali, 1955. The National Gallery of Art (Chester Dale Collection), Washington.
● Twelve pentagons and twelve apostles, as Dalí said: “…communion must be symmetric.”
Ascensionist Saint Cecilia ● La Ascensión de Santa
Salvador Dalí, 1955. Oil on canvas, 81 x 66 cm
● This painting is from the times Dali showed some respect to the Catholic Church. He already has in his mind the knowledge of the existence of theories about the structure of the matter. The elements employed here are similar to the rhinoceros horn, which he believed possessed special geometrical features.
A lively still life ● Naturaleza Muerta, Viva ●
Natura Morte, Vivente
Salvador Dali, 1956. The Salvador Dalí Museum (Reynolds Morse Colection), St Petersburg, Fl, USA.
● In this painting Dalí handles the usual elements found in a still life, here however, he turned these elements alive by positioning them in a natural condition of movement.
Landscape with Butterflies ● Paisaje con mariposas
Salvador Dali, 1956.
Red orchestra - Musical Tempest ● La música - La
orquesta roja - las siete artes
Salvador Dali, 1957. G.E.D. Nahmad, Geneva.
● A different picture with similar elements, (The Red Orchestra - The Seven Arts, 1944), an oil on canvas of dimensions unknown, was destroyed in a fire at the Ziegfeld theatre in New York.
Santiago the Great ● Santiago El Grande ● Saint
Jacques le Grand
Salvador Dalí, 1957. Beaverbrook Art Gallery, Fredericton, New Brunswick.
Burning Giraffes and Telephones - Seven Arts-
Rhapsodie moderne ● Jirafas ardiendo y telefonos - Las siete artes ● Les
sept arts ● Brennende Giraffen und Telefone
Salvador Dalí, 1957. Private Collection.
Meditative Rose ● Rosa meditativa
Salvador Dali, 1958. Private Collection.
● This is another masterpiece with classical tendency in which the painter shows his outstanding talent.
Discovery of America by Christopher Columbus ● El
Descubrimiento de América por Cristóbal Colón
Salvador Dalí, 1959. The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
The Ecumenical Council ● El Concilio ecumenico ●
Salvador Dali, 1960. The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
● Produced in his period of historic paintings. History, religion and autobiographic subjects were combined.
Maelstrom. Portrait of Juan de Pareja
fixing a string of his mandoline ● Retrato de Juan de Pareja reparando
una cuerda de su mandolina ● Portrait de Juan de Pareja reparand une
corde a' sa mandoline
Salvador Dalí, 1960. Private Collection.
Birth of a Divinity ● El nacimiento de una Divinidad
● Geburt einer Gottheit
Salvador Dalí, 1960. Oil on panel, 36 x 26 cm
● Here, Dali shows his outstanding capacity to give us a whole idea of something, with just a few, meaningful elements.
Fifty abstract paintings which as
seen from two yards change into three lenins masquerading as chinese and
as seen from six yards appear as the head of a royal tiger ● Cinco
pinturas abstractas que vistas desde dos yardas se transforman en tres
Lenin disfrazados de chino y vistas desde seis yardas parece la cabeza
de un tigre real
Salvador Dali, 1963. Oil on canvas, 200 x 229 cm. Minami Art Museum, Tokio.
Station of Perpignan - La estación de
Perpiñán - La gare de Perpignan. Salvador Dalí, 1965.
Museum Lidwig, Kohln.
Composition with Greek Head - Mad Mad
Mad Minerva - Illustration for "Memories of Surrealism" ● Minerva loca,
loca, loca" - Ilustración para "Memorias del Surrealismo" 2
Salvador Dalí, 1968. Oil, gouache and indian ink with photo collage on paper, 61 x 48 cm Galerie Kalb, Vienna.
The Hallucinogenic Toreador ● El
Toreador Halucinogeno ● Torero Hallucinogene
Salvador Dali, 1969. Oil on Canvas 4 x 3 m
The Salvador Dalí Museum (Morse Charitable Trust), St Petersburg, Fl, USA.
● This painting has extraordinary proportions (4 x 3 meters). It's a combination of several resulting elements from its critical-paranoiac method. The boy observing is Dalí himself. It is said that being in NY, Dalí bought a box of pencils by the brand "Venus" which had a reproduction of the Milo's Venus, and then he expressed his desire to make this painting. Gala expression is due to the fact that she didn't like bullfights. In the bay, almost imperceptible and out of context, there is a woman in a yellow raft. The painter was worried about the consequences of the increasing tourism at Cabo de Creuss, although on the other hand, he thought that in the long run the rocks would overcome the visitors and will destroy the trash that they left behind. (This detail is so small that it must be seen in person. If you take a vacation to Miami, plan a trip to Saint Petersburg for at least one day to visit the Salvador Dali Museum. It is one of the most important collections of the world).
Patient lovers (Appearence of a visage with
stereoscopic tendencies in an ampurdan landscape) ● Amantes pacientes (Aparición
de un rostro con tendencias estereoscópicas en un paisaje del Ampurdán)
● (Apparition d'un visage a' tendence stereoscopique dans un paysage de
Salvador Dalí,1970. Private Collection.
Gala Contemplating the Mediterranean Sea Which at Twenty
Meters Becomes the Portrait of Abraham Lincoln - Homage to Rothko- Lincoln in
Dalivision - (First version) ● Gala contemplando el Mediterraneo, que vista
desde veinte metros se convierte en el retrato de Abraham Lincoln - Homenaje a
Rothko- Lincoln en Galavision (Primera version)
Salvador Dali, 1974-1975; 4.45 x 3.5 m; Fundación Gala-Salvador Dalí, Figueras (First version)
● This is the first version of two very similar paintings. A second, and a little different version, is in Minami Art Museum, Tokio. You can see two images: Gala watching the Mediterranean Sea or, looking at it from a distance of twenty meters the picture transforms itself into an Abraham Lincoln portrait.
Giraffe Avignon '75
The Giraffe of Avignon ● La Jirafa de Avignon ●
Salvador Dali, 1975. Pastel, watercolour, gouache and stuck-on paper. 43 x 63.5 cm
● Three old painter’s ideas are shown here: the burning giraffes, similar groups on both sides of the way and a father showing them to his child.
Gala Contemplating the Mediterranean Sea Which at
Twenty Meters Becomes the Portrait of Abraham Lincoln - Homage to
Rothko- Lincoln in Dalivision - (Second version) ● Gala contemplando el
Mediterraneo, que vista desde veinte metros se convierte en el retrato
de Abraham Lincoln - Homenaje a Rothko- Lincoln en Galavision (Segunda
Salvador Dali, 1976. Oil on canvas (Second version); 1.92 x 2.52 m; Private Collection, Tokyo.
● This is the second version of two very similar paintings. You can see two images: Gala watching the Mediterranean Sea or, looking at it from a distance of twenty meters the picture transforms itself into an Abraham Lincoln portrait.
SEARCH FOR THE FOURTH DIMENSION ● La busqueda de la
Salvador Dalí, 1979. Fundación Gala-Salvador Dalí, Figueras.
Apparition of the Face of the Aphrodite of
Knidos ● Aparicion del rostro de Aphrodita de Cnide ● Das Gesicht der
Salvador Dali, 1981. Fundación Gala-Salvador Dalí, Figueras.
● This painting was made at the end of his carrier, it shows up changes in his previous styles.
Bed and two small nigh tables fiercelly attacking a
violoncello ● Cama y dos mesitas de noche atacando ferozmente a un
violonchelo ● Lit et deux tables de nuit attaquant ferocement un
Dalí, 1983. Museo Nacional Reina Sofía, Madrid.
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