DOCSLIB.ORG

Salvador Dalí

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Salvador Dalí english mer of 1929 and their visit caused sweep- Salvador Dalí (1904-1989) ing changes in Dalí’s life.The young painter left his family and fled with Gala to Paris, Figueres was the birthplace of the painter where he became an enthusiastic member Salvador Dalí and it was here too that he of the Surrealist movement. Some of his died. Most of his works are in the Theatre- most famous paintings –The Great Museum, built by Dalí himself around the Masturbator, Lugubrious Game and former theatre where his first exhibition Portrait of Paul Éluard– date back to this was held. Dalí was also buried in the period. Dalí and Gala went to live at Theatre-Museum, alongside the church Portlligat, where they were visited during that was the scene of both his christening Portrait of Gala with Two Lamb Chops Balanced on Her Shoulder the following years by René Crevel, André and his funeral, the first and last acts of a (TMD, 1933) Breton, Valentine Hugo, Paul Éluard, perfectly planned scenario. Marcel Duchamp and Man Ray. As Dalí Salvador Dalí i Domènech, the son of a himself wrote, those were “the last happy highly respected notary, was born on days in post-war Europe”. Mas Juny in 11 May 1904 in a house on Carrer Monturiol Palamós, the property of the painter Josep Portrait of Picasso (TMD, 1947) in Figueres. After attending the local state M. Sert, who was married to the Georgian school, he was subsequently educated at princess Roussy Mdivani, was the scene of the Salesian and Marist schools and the other well-known gatherings on the Costa high school. From the age of 13 he Brava during those years. It was particular- Self-portrait (TMD, 1921) received drawing lessons at the school run ly famous for its parties, which were also by Joan Núñez. His works were shown for attended by the Dalís. Dalí spent the the first time at a collective exhibition held Spanish Civil War in Paris and when the at the beginning of 1919 and he published Germans invaded France, after a short stay his first literary articles in his high school in his native Empordà region, he moved to magazine, Studium. the United States, where he had already Dalí’s name appeared for the first time held his first exhibitions. in the Barcelona press in 1922, when he Soft Self-portrait with Slice of Grilled Bacon (TMD, 1941) Following Dalí’s expulsion from the was awarded a prize at the exhibition of the Surrealist movement, his work underwent a Associació Catalana d’Estudiants held in radical change, with a return to classicism the Dalmau gallery. In the autumn of the and what he called his mystical and same year he registered at the School of nuclear phase. He became one of the most Fine Arts in Madrid and went to live at the fashionable painters in the United States prestigious Residencia de Estudiantes. and André Breton baptized him “Avida There, his friendship with Federico García Dollars”. He wrote a partly fictitious autobi- Lorca and Luís Buñuel had a more endur- ography entitled The Secret Life of In Cadaqués, at the Museu Municipal ing effect on his artistic future than his Tristan and Isolde (TMD, 1944) Salvador Dalí, and Hidden Faces, a novel (tel. +34 972 258 877), are the paint- studies at the School, from which he was containing biographical elements. These ings Mermaids of Cadaqués and Paris Satirical composition (TMD, 1923) finally expelled. As a result of his indisci- two short literary digressions earned him and the Dragon. pline and the attitude of his father, who still greater prestige and wealth, as did his The Museu d’Art Modern (MAM- clashed with the Primo de Rivera dictator- collaborations in the world of the cinema MNAC) (tel. +34 933 195 728) in ship over a matter related to elections, the (such as the dream set in Alfred Barcelona has three works by Dalí: Portrait young Dalí spent a month in prison. Hitchcock’s Spellbound , 1945), and in of the Artist’s Father and Sister (a pencil Dalí’s first individual exhibition opened those of the theatre, opera and ballet. drawing done in 1925), Portrait of the at the Dalmau gallery in Barcelona in His return to Portlligat in the summer Artist’s Father (oil painting, 1925) and November 1925 and featured various of 1948 was manifested in his works by the Portrait of Joan M. Torres (oil painting, works for which his sister Anna Maria had rediscovery of the landscapes of that part 1921). On a ceiling in the Palauet served as the model. The poet García of the Cap de Creus peninsula. When he Albéniz in Barcelona, a property on Lorca, who was shortly to write his Oda a visited Pope Pius XII, he showed him the Montjuïc hill belonging to the Barcelona Salvador Dalí, was invited by Dalí to spend painting The Madonna of Portlligat. In City Council, is a fresco painted by Dalí in the Easter holidays that year in Figueres October 1949 he gave a lecture at the 1969 and entitled Hour of the Monarchy. and Cadaqués. Lorca returned there in Ateneu Barcelonès entitled “Why I was sac- Isolated works by Dalí are also to be 1927, the year in which the first perfor- rilegious and why I am a mystic”, the con- found in other museums in Catalonia: mance of his Mariana Pineda took place in tent of which was not far removed from Saint Narcissus of the Flies in the Museu Barcelona with scenery designed by Dalí, another address he gave one year later at de l’Empordà (tel. +34 972 502 305) who at the time was doing his military ser- the Teatro María Guerrero in Madrid under in Figueres; Portrait of Maria Carbona vice at Sant Ferran Castle in Figueres. the title “Picasso and I”. During these years (drawing, 1925) and Bread and grapes and This period marked the beginning of Portlligat again became the scene of gath- Neocubist Academy (oils painting, 1926) in Dalí’s career, not only as an artist but as erings of important personalities such as the Museu de Montserrat (tel. +34 creator of controversy. Along with Sebastià Dematerialization Near the Nose of Nero (TMD, 1947) Walt Disney, the Duke of Windsor, Umberto 938 777 777); Portrait of Puig Pujades Gasch and Lluís Montanyà, he signed the Table in front of the Sea (homage to Eric Satie) (TMD, c.1926) of Savoy, the former king of Italy, the multi- and Portrait of Pep Ventura (drawings, Manifest Groc (‘Yellow Manifesto’, March millionaires Arturo López and Niarchos 1925 and 1927) in the Museu de Mataró 1928), which was a severe attack against and the intellectuals Dionisio Ridruejo and (tel. +34 937 582 401) in Mataró; dedi- the prevailing Noucentista movement. The Eugeni d’Ors. On 8 August 1958, Dalí and cations and drawings done for the painter gallery owner Joan A. Maragall refused a Gala were married according to the rites of Miquel Utrillo in a room belonging to the picture of his at the Autumn Salon in the Catholic church in a ceremony per- Biblioteca Santiago Rusiñol (tel. +34 Barcelona; the articles he published in the formed in the strictest secrecy at the shrine 938 941 149) in Sitges; letters, docu- magazine L’Amic de les Arts and the lec- of Els Àngels, just a few kilometers from ments and drawings from Dalí’s first period tures he subsequently gave at Figueres, Girona. in the Museu Abelló (tel. +34 935 445 Barcelona and Sitges, gave rise to perpetu- During the 1960s, Dalí painted some 099), the private museum of the painter al controversy; he and Luís Buñuel wrote very large works such as The Battle of Joan Abelló situated at Mollet del Vallès. an insulting letter attacking Juan Ramón Tetuan –which he presented in 1962 at the Jiménez and prepared the scenarios for Un Woman-animal symbiosis (TMD, 1928) Tinell in Barcelona alongside the original chien andalou and L’Âge d’Or, which were work by Marià Fortuny–, The Apotheosis Automatic Beginning of a Portrait of Gala (TMD, 1932) to go down in history as two of the finest of the Dollar, Tuna Fishing, The Surrealist films. Hallucinogenic Bullfighter and The „ René Magritte, Paul Éluard and his wife Discovery of America by Christopher The Spectre of Sex-appeal (TMD, 1932) Gala came to stay at Cadaqués in the sum- Girl standing at the window (M.N. Centro de Arte Reina Sofía, 1925) Columbus. Another important work painted at this period is Perpignan Station, a veri- Dalí in Catalonia table revelation of his paranoid-critical There are works by Dalí in nearly all the method which relates this centre of Dalí’s great museums of contemporary art mythological universe to his obsession throughout the world. Most of those in with Millet’s The Angelus. Catalonia, however, are concentrated in the On his 75th birthday in 1979, Dalí Theatre-Museum in Figueres. Púbol castle, made a speech at his investiture as a mem- known as the Castell Gala-Dalí and ber of the Académie des Beaux-Arts in Casa-Museu Salvador Dalí in Portlligat, Paris and a major exhibition of his works have also been opened to the public. The was held at the Centre Georges Pompidou. following is a brief list of the other places However in the same year his health began in Catalonia where there are works by Dalí. to decline. After failing to recover from an attack of influenza in New York, he retired Portrait of artist’s father (MAM-MNAC, 1925) to Portlligat in a state of deep depression.
Load more

Recommended publications
  • Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
    WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
    [Show full text]
  • A Critical Bibliography of the Theatre of Federico García Lorca, 1940-1970
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1973 A critical bibliography of the theatre of Federico García Lorca, 1940-1970. Dennis A. Klein University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Klein, Dennis A., "A critical bibliography of the theatre of Federico García Lorca, 1940-1970." (1973). Doctoral Dissertations 1896 - February 2014. 2686. https://scholarworks.umass.edu/dissertations_1/2686 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA: 19^0 THROUGH 1970 A Dissertation Presented By Dennis A. Klein Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1973 Hispanic Languages and Literatures (C) Dennis A. Klein f^73 All Rights Reserved A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA; 19^ THROUGH 1970 A Dissertation By Dennis A. Klein Approved as to style and content by: Professor Sumner •rofessor Harold L. Boudreau June 1973 Iv For My Parents And for Jordan V acknowledgments Since it is impossible to acknowledge all of the faculty and staff members, relatives and friends who have seen me through my years of graduate studies and through this dissertation, I shall limit myself to five faculty members of the University of Massachu- setts: Professor Blanche DePuy and Professor David Lenson for their time and suggestions; Professor Sumner M.
    [Show full text]
  • Surrealism and Totalitarism
    Surrealism and “Soft Construction Totalitarism with Boiled Beans” (Premonition of Civil War) is located in the Philadelphia Museum of Art. Dalí painted it in 1936, but there were studies found of it that dated back to Soft Construction with 1934. Dalí made Boiled Beans this painting to (Premonition of Civil represent the War) horrors of the 100 cm × 99 cm, oil on Spanish Civil War. canvas, 1936 LET’S LOOK - Does this image look real to you? - Why or why not? - What is a civil war? - How do you think Dalí’s creature reflects civil war? - What other objects in the painting might relate to civil war? Lesson 1: Painting the picture of War ● The Spanish Civil War began during the summer of 1936 when General Francisco Franco spearheaded a military coup against the democratically elected government of the Second Spanish Republic. ● Dali’s painting about the war “Soft construction with boiled beans” came to stand as a universal artistic outcry against the enormous brutality, destruction and suffering of wartime violence, like Picasso’s Guernica. Activity 1:“Fill in the gaps” The aggressive ……...destroys itself, tearing ………at its own limbs, its face twisted in a grimace of both………….. ● Academy in Madrid – triumph and torture - monster – massive – Dalí employs his …………….. in the painting by horrors of the spanish Civil War – contorting the ………… limbs into an outline of a Republic – Joan Mirò – apolitical map of Spain. Though Dalí intended this painting as a comment on the …………………, he did not – was tortured and imprisoned - openly side with the ………… or with the …………. In violently– paranoic-critical fact, the painting is one of only a few works by Dalí method – fascist regime – Pablo to deal with contemporary social or political issues.
    [Show full text]
  • Dépliant De L'exposition Dali 2012
    DALÍ 21 NOVEMBER 2012 - 25 MARCH 2013 Over thirty years after the major experiences on our relationship with retrospective exhibition dedicated to space, matter and reality. the painter in the early days of the The imaginative, curious and prodigal Centre Pompidou, Dalí – the artist artist used himself as a subject of who proclaimed himself as “divine” study, notably under the prism of and a “genius” – is once again in the Freudian psychoanalysis. He built his media spotlight. Dalí is both a key own character and set the scene for figures in the history of modern art his own performance. His actions in and one of the most popular. He is the public sphere, whether calculated also one of the most controversial or improvised, now reveal him as one artists, often denounced for his of the precursors of showmanship. showing-off and his provocative political positions. The Dalí exhibition brings together over 120 paintings, as well as Creator of an unprecedented drawings, objects, sketches, films and dreamlike universe, Dalí is mainly archival documents. It is laid out in known for his surrealist paintings of chronological-thematic sections: the the 1930s and for his television dialogue between the artist’s eye and appearances. The inventor of the brain and those of the spectator; Dalí, famous “paranoiac-critical”w method a pioneer in showmanship, creator of also echoed his era’s scientific ephemeral works and media discoveries, which impelled him to manipulator; the questioning of the constantly push back the limits of his artist’s figure in the face of tradition. www.centrepompidou.fr ULTRA-LOCAL AND UNIVERSAL showing like in the Écorchés collection.
    [Show full text]
  • Paris, New York and Madrid: Picasso and Dalí Before Great International Exhibitions
    Paris, New York and Madrid: Picasso and Dalí before Great International Exhibitions Dalí’s attitude toward Picasso began with admiration, which later became competition, and finally a behavior that, still preserving some features of the former two, also included provocative and exhibitionist harassment, simulated or expressed rivalry, and recognition. As we shall see, this attitude reached its climax at the great international exhibitions. On the other hand, Picasso always stayed away from these provocations and kept a completely opposite, yet watchful and serene behavior toward the impetuous painter from Figueres. Paris 1937, New York 1939 and Madrid 1951: these three occasions in these three major cities are good examples of the climaxes in the Picasso and Dalí confrontation. These international events show their relative divergences, postures, commitments and ways of conceiving art, as well as their positions in relation to Spain. After examining the origins of their relationship, which began in 1926, these three spaces and times shall guide our analysis and discussion of this suggestive relationship. The cultural centers of Madrid, Paris and New York were particularly important in Picasso’s and Dalí’s artistic influence, as well as scenes of their agreements and disagreements. On the one hand, Picasso had already lived in Madrid at the beginning of the 20th century, while Paris had then become the main scene of his artistic development, and New York played a relevant role in his self-promotion. On the other hand, Dalí arrived in Madrid in the early 1920s, and its atmosphere allowed him to get to Paris by the end of this decade, although New York would later become his main advertising and art promotion center.
    [Show full text]
  • The Theatre of Lorca
    FREDERIC WOOD THEATR E There's only one waY to really appreciate the quality of our new color copies . You have to see one. The new Canon Color Lase r Copier will give you color copie s just like the original . Or not lik e the original at all. Because now you can reduce and enlarge from 50% to 400%. You can change colors. You ca n YERMA combine a color original with a black and white original t o compose a totally new image. The Canon Color Lase r Copier lets you copy from printe d materials, 35mm slides, nega- tives and 3-dimensional objects . Why not call or write for you r own free color copy? And the n canon you'll see for yourself. The comforting choice. Now available on campu s exclusively at MEDIA SERVICES 228-477 5 2206 East Mall, UBC Campu s University of British Columbi a "The play's the thing // Frederic Wood Theatr e presents Plays And we have a fine selectio n Playwriting Acting and Voice of plays and books on al l Theatre Production Theatre Design . Theatre Criticism aspects of the theatre Theatre History Theatre People Screenplays But the play's not all . Screenwriting YERMA Film Directing We also have books on films Film Production Film Business and filmmaking, Film Acting Film Analysis & Criticis m By Film People for filmgoer Cinematography Federico Garcia Lorc a Special Effects and filmmaker alike. Film/Video Guides Directed B y Whether your thing Catherine Caines is stage or silver screen , you'll find inspiration January 11-2 1 at the UBC Bookstore .
    [Show full text]
  • The Madonna of Portlligat
    © Salvador Dalí, Fundació Gala-Salvador Dalí, Figueres, 2018 Cat. no. P 660 The Madonna of Portlligat Date: c. 1950 Technique: Oil on canvas Dimensions: 275.3 x 209.8 cm Signature: Signed lower right: SALVADOR DALI Location: Fukuoka Art Museum, Fukuoka (Japan) Catalogue Raisonné of Paintings by Salvador Dalí Page 1 of 7 | Cat. no. P 660 Provenance Sir James Dunn Lady Dunn Fernando Guereta, New York Minax International Co. & Inc., Tokyo Credi Saison,Tokyo Observations *The "I Bienal Hispanoamericana de Arte” (1st Biennial of Latin American Art) was held in Madrid and Barcelona. In Madrid from 12th October 1951 to 28th February 1952, although we know that Dalí’s works were exhibited only during the shorter period of time we have indicated in the Exhibitions section. In Barcelona, during March 1952, although we know that Dalí’s works were exhibited for the longer period of time we have indicated in the Exhibitions section. Exhibitions 1950, New York, Carstairs Gallery, "The Madonna of Port-Lligat", 27/11/1950 - 10/01/1951, no reference 1951, Paris, Galerie André Weil, Exposition Salvador Dali, 22/06/1951 - 04/08/1951, no reference 1951, London, The Lefevre Gallery, Dalí, December 1951, cat. no. 1 1952, Basel, Kunsthalle Basel, Phantastische Kunst des XX.Jahrhunderts, 30/08/1952 - 05/10/1952, cat. no. 70 1952, Madrid, Salas de la Sociedad Españoña de Amigos del Arte, 1º Bienal Hispanoamericana de Arte *, 22/01/1952 - 24/02/1952, no reference 1952, Barcelona, Museo de Arte Moderno, I Bienal Hispanoamericana de Arte *, March 1952, cat. no. 1 1954, Roma, Sale dell'Aurora Pallavicini, Mostra di quadri disegni ed oreficerie di Salvador Dalí, 01/03/1954 - 30/06/1954, cat.
    [Show full text]
  • Transforming Art Image Into Design in the Example of Salvador Dali’S Artworks
    Elektronik Sosyal Bilimler Dergisi www.esosder.org Electronic Journal of Social Sciences ISSN:1304-0278 Bahar-2016 Cilt:15 Sayı:57 (472-486) Spring-2016 Volume:15 Issue:57 TRANSFORMING ART IMAGE INTO DESIGN IN THE EXAMPLE OF SALVADOR DALI’S ARTWORKS SALVADOR DALĐ’NĐN ESERLERĐ ÖRNEĞĐNDE SANAT ĐMGESĐNĐN TASARIMA DÖNÜŞTÜRÜLMESĐ DOI:10.17755/esosder.60074 Doğan ARSLAN 1 Öz Sanat ve Tasarım arasındaki güçlü bağların oluşmasında özellikle 20 Yüzyıl’ın ilk çeyreğinde Avant-Garde sanat akımlarının bazı sanatçıları, bizzat dönemin tasarım sürecinin içinde olması sebebiyle önemli rol oynamışlardır. Bu araştırmada gerçeküstü sanat akımının en önemli ve bilinen temsilcilerinden Salvador Dali’nin eserleri analiz edilmiştir. Elde edilen veriler ışığında, Dali’nin eserleri ile günümüz grafik tasarımcısı Polanyalı Francis Storowski’nin çalışmaları arasındaki benzerlikler ve farklılıklar ortaya konulmuştur. Bu araştırmada, Dali’nin eserlerinin grafik tasarımın önemli ögesi olan afiş çalışmalarıyla nasıl ilişkilendirildiği Storowski’nin illüstrasyon ağırlıklı afiş örnekleriyle karşılaştırılmış. Araştırmadaki karşılaştırmada elde edilen bulgulara göre, Dali’nin çalışmalarında görülen ölüm, korku, pesimizm ve izolasyon, Birinci Dünya Savaşı ile Đspanyol iç savaşının ortaya çıkarmış olduğu sonuçlardır. Diğer taraftan Storowski’nin afiş çalışmalarında ise şiddete ve deformasyona uğramış figürlerin bir gece kabusunu andırması, sanatçının ülkesinin güçlü bir başka ülke tarafından işgal edilmesiyle ilişkilendirebilir. Her iki sanatçının çalışmalarındaki benzer
    [Show full text]
  • Salvador Dalí
    Salvador Dalí Contents Introduction to Dalí ....................................................................................................................................... 2 Diminutive Biography ................................................................................................................................... 2 Chronology of Select Works & Contributions ............................................................................................... 2 Theatre ...................................................................................................................................................... 3 Film ............................................................................................................................................................ 3 Painting ..................................................................................................................................................... 3 Writing ...................................................................................................................................................... 5 Photography .............................................................................................................................................. 5 Fashion ...................................................................................................................................................... 6 Architecture .............................................................................................................................................
    [Show full text]
  • Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-19-2017 In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962 Jessica M. Bordelon University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Bordelon, Jessica M., "In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962" (2017). University of New Orleans Theses and Dissertations. 2366. https://scholarworks.uno.edu/td/2366 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962 A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History International & Global by Jessica M. Bordelon BS.
    [Show full text]
  • Press Release Dalí. All of the Poetic Suggestions and All of the Plastic
    Dalí. All of the poetic suggestions and all of the plastic possibilities DATES: April 27 – September 2, 2013 PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Sabatini Building. 3rd floor. ORGANIZED BY: Museo Reina Sofía and Centre Pompidou, Paris, in collaboration with the Salvador Dalí Museum Saint Petersburg (Florida). With the special collaboration of the Fundació Gala-Salvador Dalí, Figueres. CHIEF CURATOR: Jean-Hubert Martin CURATORS: Montse Aguer (exhibition at the Museo Reina Sofía, Madrid), Jean-Michel Bouhours and Thierry Dufrêne COORDINATOR: Aurora Rabanal The Museo Reina Sofía presents a major exhibition dedicated to Salvador Dalí, one of the most comprehensive shows yet held on the artist from Ampurdán. Gathered together on this unique occasion are more than 200 works from leading institutions, private collections, and the three principal repositories of Salvador Dalí’s work, the Fundació Gala-Salvador Dalí (Figueres), the Salvador Dalí Museum of St. Petersburg (Florida), and the Museo Reina Sofía (Madrid), which in this way are joining forces to show the public the best of their collections. The exhibition, a great success with the public when shown recently at the Centre Pompidou in Paris, aims to revalue Dalí as a thinker, writer and creator of a peculiar vision of the world. One exceptional feature is the presence of loans from leading institutions like the MoMA (New York), which is making available the significant work The Persistence of Memory (1931); the Philadelphia Museum of Art, which is lending Soft Construction with Boiled Beans (Premonition of Civil War) (1936); the Tate Modern, whose contribution is Metamorphosis of Narcissus (1937); and the Musées Royaux des Beaux-Arts, Belgium, the lender of The Temptation of St Anthony (1946).
    [Show full text]
  • The House of Bernarda Alba Study Guide
    The House of Bernarda Alba Federico García Lorca Study Guide 1 Prepared by The Classic Theatre of San Antonio October, 2011 Synopsis of the Play The House of Bernarda Alba drama of women in the villages of Spain The play was completed in 1936, two months before the death of the author. The action takes place in the home of Bernarda Alba after the funeral of her second husband. Bernarda has recently announced to her five daughters that there will be a mourning period of eight years, during which they must stay in the house and do needlework. Her daughters, between the ages of 21 and 40, have spent their lives being controlled by Bernarda Alba and are prohibited from any relationships. Because of this latest announcement of the mourning period, tensions are very high at the beginning of the play. The first scene opens to a kitchen maid and Bernarda's servant discussing the recent funeral and the difficulty of living under the roof of Bernarda Alba. Next, a group of mourners passes through as the daughters and Bernarda enter. Bernarda accuses Angustias, the oldest daughter, of listening to the conversation of the men outside, something that is strictly forbidden. Angustias, the only daughter of Bernarda's first husband, has inherited money from her father. She has also inherited an equal share of the money from the death of Bernarda's second husband, making her the only sister with significant wealth. This newfound wealth has attracted attention and Angustias intends to become engaged to Pepe el Romano. Pepe is fourteen years younger than Angustias and the most handsome man in town.
    [Show full text]