Salvador Dali. the Paintings Free
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Maria Sofia Pimentel Biscaia Leituras Dialógicas Do Grotesco: Dialogical
Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica do Doutor Kenneth David Callahan, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro e da Doutora Maria Aline Salgueiro Seabra Ferreira, Professora Associada do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Presidente Prof. Doutor José Carlos da Silva Neves Professor Catedrático da Universidade de Aveiro Prof. Doutor Mário Carlos Fernandes Avelar Professor Associado com Agregação da Universidade Aberta Profª. Doutora Ana Gabriela Vilela Pereira de Macedo Professora Associada da Universidade do Minho Prof. Doutor Anthony David Barker Professor Associado da Universidade de Aveiro Profª. Doutora Maria Aline Salgueiro Seabra Ferreira Professora Associada da Universidade de Aveiro Prof. Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro Profª. Doutora Adriana Alves de Paula Martins Professora Auxiliar da Universidade Católica Portuguesa - Viseu Agradecimentos A elaboração desta dissertação foi possível graças ao apoio financeiro da FCT e do FSE, no âmbito do III Quadro Comunitário. As condições de acolhimento proporcionadas pelo Departamento de Línguas e Culturas e pelo Centro de Línguas e Culturas foram essenciais para o cumprimento atempado do projecto. -
1 Dalí Museum, Saint Petersburg, Florida
Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2015 TITLE: “Salvador Dalí: Elementary School Dalí Museum Collection, Paintings ” SUBJECT AREA: (VISUAL ART, LANGUAGE ARTS, SCIENCE, MATHEMATICS, SOCIAL STUDIES) Visual Art (Next Generation Sunshine State Standards listed at the end of this document) GRADE LEVEL(S): Grades: K-5 DURATION: (NUMBER OF SESSIONS, LENGTH OF SESSION) One session (30 to 45 minutes) Resources: (Books, Links, Films and Information) Books: • The Dalí Museum Collection: Oil Paintings, Objects and Works on Paper. • The Dalí Museum: Museum Guide. • The Dalí Museum: Building + Gardens Guide. • Ades, dawn, Dalí (World of Art), London, Thames and Hudson, 1995. • Dalí’s Optical Illusions, New Heaven and London, Wadsworth Atheneum Museum of Art in association with Yale University Press, 2000. • Dalí, Philadelphia Museum of Art, Rizzoli, 2005. • Anderson, Robert, Salvador Dalí, (Artists in Their Time), New York, Franklin Watts, Inc. Scholastic, (Ages 9-12). • Cook, Theodore Andrea, The Curves of Life, New York, Dover Publications, 1979. • D’Agnese, Joseph, Blockhead, the Life of Fibonacci, New York, henry Holt and Company, 2010. • Dalí, Salvador, The Secret life of Salvador Dalí, New York, Dover publications, 1993. 1 • Diary of a Genius, New York, Creation Publishing Group, 1998. • Fifty Secrets of Magic Craftsmanship, New York, Dover Publications, 1992. • Dalí, Salvador , and Phillipe Halsman, Dalí’s Moustache, New York, Flammarion, 1994. • Elsohn Ross, Michael, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities, Chicago review Press, 2003 (Ages 9-12) • Ghyka, Matila, The Geometry of Art and Life, New York, Dover Publications, 1977. • Gibson, Ian, The Shameful Life of Salvador Dalí, New York, W.W. -
Universidade Federal De Goiás Centro De Ensino E Pesquisa Aplicada À Educação
UNIVERSIDADE FEDERAL DE GOIÁS CENTRO DE ENSINO E PESQUISA APLICADA À EDUCAÇÃO SANTIAGO LEMOS JOGO VIRTUAL DALÍ EX: FORMAÇÃO ESTÉTICA E ENSINO DE ARTES VISUAIS GOIÂNIA 2017 SANTIAGO LEMOS JOGO VIRTUAL DALÍ EX: FORMAÇÃO ESTÉTICA E ENSINO DE ARTES VISUAIS Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em Ensino na Educação Básica do Centro de Ensino e Pesquisa Aplicada à Educação da Universidade Federal de Goiás, para obtenção do título de Mestre em Ensino na Educação Básica. Área de Concentração: Ensino na Educação Básica. Linha de Pesquisa: Concepções teórico- metodológicas e práticas docentes. Orientadora: Profa. Dra. Maria Alice de Sousa Carvalho Rocha. GOIÂNIA 2017 ÿÿ ÿÿÿÿÿ ÿ !"ÿ #$%ÿÿ&ÿ' %( ÿÿ)" %ÿÿ0 "ÿÿ1&2 7%"ÿ) $ ÿÿÿÿÿÿ89&9ÿ@ABC1'7ÿ4'7DÿEFGÿH% " IÿGÿ9BP'QR9ÿE)CSCA3'ÿE ET)AT9ÿ4Eÿ'BCE)ÿ@A)1'A)ÿUÿ) $ÿ7%"2ÿVÿWXY62 ÿÿÿÿÿÿÿ6Xÿ2Gÿ2 ÿÿÿÿÿÿ9 Gÿ#2ÿPÿ'ÿÿÿ)"ÿ3 ÿBÿ2 ÿÿÿÿÿÿ4"" ÿ`P" aÿVÿ1 "ÿÿÿ&("ÿ3 ÿ#"b"ÿ'ÿcÿEÿ`3E#'Eaÿ#$%ÿÿ#d"V& %ÿE " ÿ ÿEÿ0("ÿ`#"" aÿ&e ÿWXY62 ÿÿÿÿÿ0$2 ÿÿ ÿÿÿÿÿÿY2ÿE " 2ÿW2ÿEÿ0("2ÿ52ÿ' "ÿ@""2ÿf2ÿ8$ÿ4$ 2ÿA2 ÿ)"ÿ3 ÿBÿÿPÿ'ÿÿ 2ÿAA2ÿCg 2 341ÿ56 RESUMO Ao refletir sobre a formação do estudante na sociedade da era digital, observa-se a necessidade de aproveitar os recursos por ela disponibilizados para contribuir com os processos de ensino/aprendizagem dentro e fora de sala de aula. A maioria desses jovens tem cada vez mais contato com os dispositivos de tecnologia móvel como celulares e tablets. Eles utilizam essas ferramentas cotidianamente para acessar as redes sociais e também para participarem de jogos. Esses últimos, segundo pesquisas, são os mais procurados e existem numa grande variedade, mas poucos deles exploram temáticas de interesse educacional. -
Exhibition Checklist
EXHIBITION CHECKLIST Dalí: Painting and Film June 29 – September 15, 2008 Salvador Dalí, Spanish, 1904-1989 Madrid Night Scene, 1922 Gouache and watercolor on paper 8 1/4 x 6" (21 x 15.2 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Brothel, 1922 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Summer Night, 1922 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 The Drunkard, 1922 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Madrid Suburb, circa 1922-23 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Portrait of Luis Buñuel, 1924 Oil on canvas 26 15/16 x 23 1/16" (68.5 x 58.5 cm) Museo Nacional Centro de Arte Reina Sofía, Madrid Salvador Dalí, Spanish, 1904-1989 Portrait of my Father, 1925 Oil on canvas 41 1/8 x 41 1/8" (104.5 x 104.5 cm) Museu Nacional d'Art de Catalunya, Barcelona Salvador Dalí, Spanish, 1904-1989 The Marriage of Buster Keaton, 1925 Collage and ink on paper 8 3/8 x 6 5/8" (21.2 x 16.8 cm) Fundación Federico García Lorca, Madrid Salvador Dalí, Spanish, 1904-1989 Penya segats (Woman on the Rocks), 1926 Oil on panel 10 5/8 x 16 1/8" (27 x 41 cm) Private collection Print Date: 06/20/2008 01:22 PM Page 1 of 15 Salvador Dalí, Spanish, 1904-1989 The Hand, 1927 India ink on paper 7 1/2 x 8 1/4" (19 x 21 cm) Private collection Salvador Dalí, Spanish, 1904-1989 Apparatus and Hand, 1927 Oil on panel 24 1/2 x 18 3/4" (62.2 x 47.6 cm) Salvador Dalí Museum, St. -
S Religious Artwork
A look at Salvador Dali’s religious artwork The American public loves the later paintings of Salvador Dalí (1904-1989), the Spanish artist who was a leader of the surrealist movement in the 1920s and 1930s but who announced his return to the Catholic faith and a classical style of painting in 1942. But most art critics and a number of theologians have dismissed Dalí’s later work. Some judged his Catholicism as insincere, while others thought Dalí lost his creative spark when he rejected the abstraction of modern art. Thanks to the exhibit “Dalí: The Late Work,” which runs through Jan. 9 at the High Museum of Art in Atlanta, we can now see Dalí’s later works as continuing the traits that made him such a compelling artist: his devotion to “good” painting (meaning, for him, the ability to accurately reproduce reality in pigments), and his fascination with the intersection of science and mathematics with the subconscious mind. Curator Elliott King told Our Sunday Visitor that Dalí, who was raised Catholic by his mother during his youth in Spain’s Catalan region, never completely left the faith, even though all the surrealists denounced the Church in the 1920s. His first painting to win a prize was a “Basket of Bread,” revealing a lifelong interest in the iconography of bread and its importance in the miracle of the Eucharist. And thanks to theologian Michael Anthony Novak’s analysis of the “Sacrament of the Last Supper” in the National Gallery of Art in Washington, D.C., we can also appreciate Dalí’s effort to interpret traditional religious subject matter in a way that expresses both contemporary reality and the central mystery of the Catholic faith. -
Salvador DALI Et ÉRIS
Carmela Di Martine - mai 2019 Salvador DALI et ÉRIS Salvador Domingo Felipe Jacinto Dalí i Domènech, premier marquis de Dalí de Púbol, né à Figueras le 11 mai 1904, 8 h 45. Il est mort dans la même ville, le 23 janvier 1989. Peintre, sculpteur, graveur, scénariste et écrivain catalan de nationalité espagnole, il est considéré comme l'un des principaux représentants du surréalisme, et comme l'un des plus célèbres peintres du XXe siècle. Dominantes astrales . Soleil en Taureau maison XI, signe gouverné par Vénus située les mêmes signe et maison. La nature, la nourriture. L’artiste manuel. Ascendant Cancer, signe gouverné par la Lune en Bélier maison X. Famille, mémoire, l’Histoire, le peuple, vive imagination, rêve. MC Poissons, signe gouverné par Neptune en Cancer maison XII (des Poissons). L’imagination débordante. Éris Éris n’est pas que provocation, elle encourage, stimule, incite à l’action, au combat. Elle nous encourage à nous dépasser pour accéder à un au-dessus de notre niveau, pour atteindre un au- delà. Elle est la révélation. Elle nous provoque donc pour que nous progressions. Progression individuelle nécessaire à l’évolution collective. 1 Carmela Di Martine - mai 2019 Salvador Dali et Éris Éris 24° 20’ Poissons (la peinture) maison IX (quête d’un monde supérieur) est en : . Conjonction MC 26° 45’ Poissons et Lune 2° 28’ Bélier. Éris guide, oriente donc la destinée de Dali. Elle provoque sa carrière, stimule toutes les planètes en aspects avec elles, qui activeront autant de talents nécessaires à ses peintures qui le rendront célèbre. Éris en sera l’inspiratrice. -
"Dalí Museum: Keeping It Fresh"
National Docent Symposium 2013 "Dalí in the Details: Successful Strategies for Refreshing Your Tours from a Dalínian Perspective" Presented by Peter Tush Dalí Museum Curator of Education Diane Shea Williams Dalí Museum Docent Chair of the Volunteer Council 1) Who is Salvador Dalí? and what makes the Dalí Museum so special? Salvador Dalí Surrealist painter of dreams Salvador Dalí 1904 – 1989 Painter, writer, filmmaker, Surrealist, explorer of the unconscious, Nuclear Mystical painter, designer of ballets, architecture, clothing, book illustrations, album covers, jewelry, and commercials HH Alice Cooper Hologram – 1973 "All my ambition on the pictorial level consists of putting on canvas, with the most imperial fury of precision, the images of concrete irrationality." - Salvador Dalí The Persistence of Memory, 1931, Museum of Modern Art, NY The Weaning of Furniture-Nutrition, 1934 Dalí’s Autobiography 1942 Cover – The Persistence of Memory 1931 The Hallucinogenic Toreador 1969-70 The Dalí Museum holds the largest collection of his art outside Spain – with 96 oil paintings and more than 5,000 other works The Basket of Bread, 1926 Reynolds and Eleanor Morse, Dalí Museum founders, with Dalí and his wife Gala D Daddy Longlegs of the Evening – Hope!, 1940 The New Dalí Museum Jewel Box by Tampa Bay Spiral staircase ascends to galleries Dalí believed the spiral shape was nature’s perfect form and symbolized cosmic unity View of Tampa Bay from third floor View of the math garden View of the labyrinth Visitors tie wristbands to the wishing tree to end their visit to the museum with a wish. Voted #1 Attraction in Tampa Bay Area by Trip Advisor and Yelp "Don’t go through without a docent…it really comes to life when a docent explains Dalí’s life, his art, and his fame." "Dalí’s paintings are fascinating. -
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. -
Daladier. He Was Handed Over to the Germans and Remained In
DALI´ ,SALVADOR Daladier. He was handed over to the Germans and all the surrealists—the only one who achieved celeb- remained in detention until the end of the war. rity status during his lifetime. Although he pub- lished numerous writings, his most important Despite the violent allegations against him by the contributions were concerned with surrealist paint- then very powerful Communist Party, which never ing. While his name conjures up images of melting forgave him for his attitude toward them in 1939, watches and flaming giraffes, his mature style took Daladier returned to France and to his old post of years to develop. By 1926, Dalı´ had experimented deputy for Vaucluse in June 1946. The Radical Party, with half a dozen styles, including pointillism, pur- however, was only a shadow of its former self, and it ism, primitivism, Marc Chagall’s visionary cubism, fused into a coalition of left-wing parties, the and Giorgio de Chirico’s metaphysical art. The same Rassemblement des Gauches Re´publicaines, an alli- year, he exhibited the painting Basket of Bread at ance of circumstance with little power. And while the Dalmau Gallery in Barcelona, inspired by the Herriot managed to become president of the seventeenth-century artist Francisco de Zurbara´n. National Assembly, Daladier never again played an However, his early work was chiefly influenced by important role. He made his presence felt with his the nineteenth-century realists and by cubist artists opposition to the European Defense Community such as Pablo Picasso and Georges Braque. (EDC), paradoxically holding the same views as the communists. -
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. -
The Basket of Bread)
© Salvador Dalí, Fundació Gala-Salvador Dalí, Figueres, 2004 USA: © Salvador Dalí Museum Inc., St. Petersburg, FL, 2004 Cat. no. P 176 Panera del pa (The Basket of Bread) Date: 1926 Technique: Varnish medium painting on wood panel Dimensions: 31.5 x 31.5 cm Signature: Signed and dated lower left corner: Salvador Dalí / 1926 Location: The Dali Museum, St. Petersburg (Florida) Catalogue Raisonné of Paintings by Salvador Dalí Page 1 of 5 | Cat. no. P 176 Provenance H. K. Siebeneck, Pittsburgh (Pensylvania) James Thrall Soby, Farmington (Connecticut) E. and A. Reynolds Morse, Cleveland (Ohio) Exhibitions 1926, Barcelona, Galeries Dalmau, Exposició S. Dalí, 31/12/1926 - 14/01/1927, cat. no. 5 1928, Pittsburgh, Carnegie Institute, Twenty-Seventh International Exhibition of Paintings, 18/10/1928 - 09/12/1928, cat. no. 361 1932, Pittsburgh, Carnegie Institute, An Exhibition of Carnegie International Paintings Owned in Pittsburgh, 01/11/1932 - 15/12/1932, cat. no. 26 1941, New York, The Museum of Modern Art, Salvador Dalí, 19/11/1941 - 11/01/1942, cat. no. 3 1942, Indianapolis, The John Herron Art Institute (Indianapolis Museum of Art), [Exhibition of paintings by Salvador Dali], 05/04/1942 - 04/05/1942, cat. no. 3 1943, Detroit, Detroit Institute of Arts, Exhibition of paintings by Salvador Dali, 15/03/1943 - 12/04/1943, no reference 1946, Boston, The Institute of Modern Art, Four Spaniards : Dali, Gris, Miro, Picasso, 24/01/1946 - 03/03/1946, cat. no. 1 1965, New York, Gallery of Modern Art, Salvador Dalí, 1910-1965, 18/12/1965 - 13/03/1966, cat. no. 18 1983, Barcelona, Palau Reial de Pedralbes, 400 obres de Salvador Dalí del 1914 al 1983, 10/06/1983 - 31/07/1983, cat. -
Dali Auction Record Smashed! Dali Oil Painting Fetches a Staggering $21.6-Million Plus, As an Anonymous Buyer Triumphs in Frenzied London Bidding War
Vol. 21 No. 2 Mar-Apr 2011 THE COLLECTORS NEWSLETTER © FOR THE DALI AFICIONADO AND SERIOUS COLLECTOR * * * Now In Our 21st Year * * * Dali Auction Record Smashed! Dali oil painting fetches a staggering $21.6-million plus, as an anonymous buyer triumphs in frenzied London bidding war... ali’s Portrait of Paul Eluard set a world record at Sotheby’s auction house in DDLondon February 10 when it was sold for more than $21.6 million. An anonymous bidder paid $21,688,635 (US) for the 1929 masterpiece, the most ever for a Surrealist work at auction, soundly shattering a record set only one day earlier at Christie’s London for a Dali piece at auction when the INSIDE Dali Foundation paid over $6-million for a Dali oil painting (see story on p. 2 of this issue of the SDCN). Dali Foundation Acquires Early Dali The 1929 Surrealist piece portrays French poet PAGE 2 Paul Eluard, a pivotal figure of the movement, and demonstrates many of the key elements that Dali Sculptures at defined the eccentric Spanish artist’s style. It is Auction arguably one of the finest Surrealist portraits. PAGE 3 Dalí and Eluard met in 1929, around the time when the artist was staying in Paris where he assisted Luis Buñuel with filming Un Chien High Exhibit Loans Portrait of Paul Eluard Return Home Andalou. During his stay in Paris, Dalí came in contact with the Surrealists and invited them to visit him in Cadaqués in the summer. Among those PAGE 4-5 who spent the summer with Dalí were Paul Eluard with his wife Gala and their daughter Cécile, as well as Buñuel and René Magritte with his wife.