The Madonna of Portlligat
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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. -
Salvador Dalí and Science, Beyond Mere Curiosity
Salvador Dalí and science, beyond mere curiosity Carme Ruiz Centre for Dalinian Studies Fundació Gala-Salvador Dalí, Figueres Pasaje a la Ciencia, no.13 (2010) What do Stephen Hawking, Ramon Llull, Albert Einstein, Sigmund Freud, "Cosmic Glue", Werner Heisenberg, Watson and Crick, Dennis Gabor and Erwin Schrödinger have in common? The answer is simple: Salvador Dalí, a genial artist, who evolved amidst a multitude of facets, a universal Catalan who remained firmly attached to his home region, the Empordà. Salvador Dalí’s relationship with science began during his adolescence, for Dalí began to read scientific articles at a very early age. The artist uses its vocabulary in situations which we might in principle classify as non-scientific. That passion, which lasted throughout his life, was a fruit of the historical times that fell to him to experience — among the most fertile in the history of science, with spectacular technological advances. The painter’s library clearly reflected that passion: it contains a hundred or so books (with notes and comments in the margins) on various scientific aspects: physics, quantum mechanics, the origins of life, evolution and mathematics, as well as the many science journals he subscribed to in order to keep up to date with all the science news. Thanks to this, we can confidently assert that by following the work of Salvador Dalí we traverse an important period in 20th-century science, at least in relation to the scientific advances that particularly affected him. Among the painter’s conceptual preferences his major interests lay in the world of mathematics and optics. -
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. -
Our Biggest Dali Art Show Ever... Dali 100 Yearscoming to San Francisco & Fort Worth
Vol. 14 No. 1 Spring 200 4 FOR THE DALI AFICIONADOANDSERIOUSCOLLECTOR Our Biggest Dali Art Show Ever... Dali 100 Yearscoming to San Francisco & Fort Worth lans for our two-city exhibition commemorating Dali's 100th birthday are in full swing, with artwork, sponsors, special events and other details being updated daily. For the PPlatest news, be sure to check in regularly with our exhibit website atwww.Dali100.com or call 800-FOR-DALI (800-367-3254). We'll be exhibiting more than 600 pieces in San Access Hollywoodco-anchor Francisco and Fort Worth, and each of these events Nancy O'Dell will be our Special will be launched with a black-tie party featuring Celebrity Host at Dali 100 Years celebrities, extraordinary food and an exclusive guest Opening Night in San Francisco . list (watch for your invitation in the mail next month). INSIDE SAN FRANCISCO May 12-30 We're delighted to announce that Alma Comida, one of Nancy O’Dell San Francisco's top restaurants, will be providing to Host Dali in catering for our opening night party on Dali's birthday, San Francisco May 11th. The party will also feature a larger-than-life surreal birthday cake replicating Dali's Persistence of COVER Memory, created by the Cake Gallery of San Spain: Center Francisco. There will be surprise celebrities on hand of the Dali (see sidebar, this page), and we invite the very bold Universe among you to dress in a surreal costume. PAGE 3 The exhibit runs from May 12-30 at the San Francisco New Dali Concourse Exhibition Center, East Hall, in the heart of Museum the city's design district. -
Uma Leitura Do Espaço-Tempo No Filme Meia Noite Em Paris
A imagem e o imaginário da cidade paradigmática: uma leitura do espaço-tempo no filme Meia Noite em Paris Valéria Cristina Pereira da Silva, Universidade Federal de Goiás (UFG), Brasil Resumo: Paris é uma cidade emblemática e paradigmática por ser a mais difundida em imagens. A paisagem, o urbanismo, as formas arquitetônicas serviram de modelo para as cidades em todo mundo, inclusive no Brasil. Falar de imaginário da cidade, em qualquer contexto, implica em recorrer a esse espaço referencial. Trata-se de uma cidade que contém o tempo e um denso legado cultural que produziu igualmente uma rica representação. Woody Allen no filme Meia Noite em Paris captou a essência desse imaginário para o qual, o encontro com a cidade consiste em buscar uma época passada. Os de- graus do tempo emolduram a cidade e conformam sua paisagem, como afirma W. Benjamin (1989) os elementos temporais mais heterogêneos encontram-se lado a lado. Desse modo, o objetivo deste trabalho é, a partir da imagem da cidade apre- sentada no filme Meia Noite em Paris, analisarmos o sentido da temporalidade urbana na sua relação com o imaginário paradigmático da capital francesa, sobretudo, como irradiadora modelos e metáforas. O aporte teórico-metodológico utilizado para essa investigação é a fenomenologia da imaginação de G. Bachelard e a montagem benjaminiana, onde uma flanerie imaginária será empreendida nesta cidade-tempo forjada por W. Allen. Palavras-chaves: cidade, imagem, espaço-tempo, paradigma urbano Abstract: Paris are a emblematic and paradigmatic city cause it's most showing in images. The landscape, the Urbanism, the architectural forms are used as a model to city around the world, inclusively in Brazil. -
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. -
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. -
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. -
Occult Is Other: What, Where, Who, Why
Occult is Other: What, Where, Who, Why, How Occultus (the occult), according to Occultus: the hidden and macabre in literature and film, is "that which is hidden, secret, mysterious, inexplicable, magic, alchemy, not readily illuminated and not easily ascertained or understood" (Tobienne, “Occultus” 2). The occult, by nature, is not evil, but its practitioners are imbibed with a certain level of power that the mundane are not afforded, which makes their actions more subject to scrutiny. As Tobienne describes, “there is more to the occult than things that go ‘bump’ in the night” (Occultus, 2). Temptation, manipulation, and rejection of accepted mores are themes that prevail among the practitioners of the occult, simply because the occult itself falls outside the boundaries of society and all of its conventions. The presence of the occult weaves an intellectual underworld beneath the curtain of the common quotidian dimension. The occult is a mechanism of deceit--therefore, it can only be undone by knowledge. However, this presents a dichotomous conundrum: one may only become a part of the occult by gaining sight of it, but with this knowledge, the occult--that which is secret--becomes a candid facet of one’s reality. The occult, then, must be transitive: unique to every individual and ultimately forever changing as the fabric of their reality metamorphoses. This comprehensive essay seeks to understand the occult as the creator, guardian, and mentor of another realm which exists outside of the physical and spiritual peripheries of the familiar one as well as why it exists and how it is destroyed. -
Dali Keynote
Dali’s father, Salvador Dali i Cusi, was a notary. His mother, Felipa Domenech Ferres, was a homemaker. Salvador Domingo Felipe Dali was born in 1904. His older brother with the same name died a year before his birth. At five, Dali’s mother told him that he was a REINCARNATION OF HIS BROTHER. Dali believed this. At five, Dali wanted to be a cook. At six, Dali painted a landscape and wanted to become an artist. At seven, Dali wanted to become Napoleon (they had a portrait of Napoleon in their home). Dali’s boyhood was in Figueres (Fee-yair-ez), Spain, a town near Barcelona. This church is where Dali was baptized and eventually where his funeral was held. Summers were spent in the tiny fishing village of Cadaques (Ka-da-kiz). Dali loved the sea and the image of it shows up frequently in his paintings. Local legends suggested that the howling winds and twisted yellow terrain of the region in Catalonia would eventually make a man mad! With sister Ana Maria Later with his wife With poet friend Lorca Photos from Cadaques Dali attended drawing school. While in Cadaques, he discovered modern painting. His father organized an exhibition of his charcoal drawings in his family home. At 15, Dali had his first public exhibition of his art. When he was 16, Dali’s mother died of cancer. He later said that this was the “greatest blow I had experienced in life. I worshipped her.” Dali was accepted into the San Fernando Academy of Art in Madrid. -
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). -
GALA SALVADOR DALÍ a Room of One’S Own in Púbol
Cover: Salvador Dalí. Gala Placidia. Galatea of the Spheres, 1952. Fundació Gala-Salvador Dalí, Figueres. © Salvador Dalí, Fundació Gala-Salvador Dalí, VEGAP, Barcelona, 2018. GALA SALVADOR DALÍ A room of one’s own in Púbol From July 6 to October 14, 2018 Organised and produced by: Museu Nacional d’Art de Catalunya, Barcelona, and Fundación Gala-Salvador Dalí, Figueres Curator: Estrella de Diego, professor of Art History (UCM). With the collaboration of Montse Aguer, director of the Dalí Museums, of the Fundación Gala-Salvador Dalí Salvador Dalí. One Second Before Awakening from a Dream Provoked by the Flight of a Bee Around a Pomegrate, c. 1944. Museo Nacional Thyssen-Bornemisza, Madrid. © Salvador Dalí, Fundació Gala-Salvador Dalí, VEGAP, Barcelona, 2018. With this exhibition, the Museu Nacional d’Art de Catalunya and Fundació Gala-Salvador Dalí will reveal Gala Dalí: muse and artist, as well as a key figure in twentieth-century art. A companion to Dalí, and before that to the poet Paul Éluard, Gala Dalí was sometimes admired but often slighted or ignored. Nonetheless, she was without doubt one of the key figures of the avant-garde. Representations of her in paintings by Max Ernst, in photographs by Man Ray and Cecil Beaton, and especially in works by Salvador Dalí are much more than portraits: they com- prise an autobiographical odyssey on which Gala imagined and created her own image—like a true postmodern heroine. The exhibition will also follow Salvador Dalí’s evolution as a painter, gathering a significant col- lection of his works—some 60 in total—including oil paintings and drawings.