By Salvador Dali
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God and the Atom: Salvador Dalí's Mystical Manifesto and The
©Michael Taylor 2007 & 2016 God and the Atom: Salvador Dalí’s Mystical Manifesto and the Contested Origins of Nuclear Painting by Michael R. Taylor In December 1951, Salvador Dalí announced his newfound interest in the pictorial possibilities of nuclear physics and molecular chemistry at a press conference in London, where he declared himself to be the “First Painter of the Atomic Age” and dismissed all the works he had produced up until this point as “merely evolution.”1 The devastating destruction of the Japanese city of Hiroshima by a nuclear fission bomb with a yield of 15 kilotons – equivalent to the force of 15,000 tons of TNT - had forced Dalí to re-think both the subject matter and spatial complexities of his subsequent paintings. On August 6, 1945, at 8.15 am, a flash a thousand times brighter than the sun illuminated the sky above Hiroshima. It was immediately followed by a wave of incandescent heat and, a few minutes later, a ferocious hurricane that swept away everything in its path. The terrifying heat turned the city into a gigantic inferno, which in turn generated a violent wind followed by black rain. By mid-afternoon the entire city was destroyed. At least 80,000 people were killed in the explosion, and almost as many suffered serious, life-threatening injuries. In the weeks that followed many more were to die in terrible agony from the burns they had sustained after the initial blast, or from the effects of radiation, which caused internal bleeding, cancer, and leukemia.2 How could an artist like Salvador Dalí, whose work was based on an intuitive, paranoiac-critical understanding of the social and political events of his times, not be profoundly affected by the tragic events at Hiroshima, which had revealed the seemingly unlimited destructive capacity of nuclear weapons, as well as the near impossibility of protecting oneself against their pernicious effects, including the long-term consequences of ionizing radiation. -
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. -
Conducteur Chic
CCCHHHIIICCC ––– 444000 xxx 222666’’’ This image-packed feature program deciphers trends in fashion, architecture, gastronomy and design, presenting a world of creativity and wellbeing. Chic ! goes in search of those who aspire to a different way of life, and discovers surprising initiatives, off-beat life-styles, and unusual creations… “Chic ! meets” A creative talent welcomes us for four days to his or her world, interior, and town or city, sharing their favourite addresses, and revealing a personality of their choice: The designer Martino Gamper, pastry chef Cristian Escriba, interior designer Paola Navone, designer Zandra Rhodes… “Rising Trends” Deciphering new trends, discovering new practices: Temporary shops, cooking with candy, luxury for hire, the new bathrooms, fashion illustrators “A potted history” Exploring familiar every-day living though the history and etymology of cult objects, designer furniture, food, and inventions: Converse, table football, the fan, Monopoly, Chupa Chups, the Polaroïd… “Insights” Viewers invite us to visit an outstanding or unusual place and to discover their original or offbeat life styles: Puerta American Madrid, a restaurant in a church, living in a water tower, working under a tree… CCCOOONNNDDDUUUCCCTTTEEEUUURRR CCCHHHIIICCC Site web : http://www.arte.tv/fr/1905558.html PROGRAM N°1 “Chic ! meets” : Zandra Rhodes, Glam Rock fantasy Broadcast on 24 November 2005 We went to London to meet Zandra Rhodes. The designer, who was the height of fashion in the 60s, invites us to her London apartment on the roof of the Fashion and Textile Museum. A South American-style interior fuses with glam rock fantasy at her brightly coloured home. "A potted history" of the Mont Blanc pen Broadcast on 4 April 2006 This little gem of a writing implement was born in 1906 out of a meeting with three German businessmen. -
Many Know Lollipop Company Named, Chupa Chups. a Lollipop Is a Sweet Candy Sold in Convenient Stores
Many know Lollipop Company named, Chupa Chups. A lollipop is a sweet candy sold in convenient stores. The beginning of this popular worldwide lollipop took place in Spain. Up until early 1950s, sweets were mostly sold in different shapes and colors, because of children's curiosity. They would pop them in and out of their mouths regularly to examine them. A man named, Enric Berant thought about making a “Bonbon with a stick”, idea that struck him when he remembered his cursing mother as her child got a sticky hand from a melting sweets. To make his idea come true, he bought his previous apple jam company in order to make Chupa Chups. Originally, they came up with the name “GOL”, for the new product n 1958. Imagining the candy as a football and the goal was the opening of a mouth. They decided to change it since it was not catchy name. Lacking ideas, Enric hired an advertising agency for help. They came up with a creative new name, Chupa. The name of the brand came from the Spanish verb, Chupar. Meaning “to lick or to suck” Eventually came up with new catch phrase, “Get something sweet to lick, lick, lick, like a Chups” Chupa Chups logo was first introduced as just a simple logo called, Chups. A scripted C looks like a letter e and they decided to use red as a main attraction to customhouse’s eyes. They changed it to two more and eventually famous surrealist painter took place to design a new beginning for Chups Chups. -
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. -
Salvador Dali – Surrealist Painter Salvador Dali Was a Spanish Painter
Salvador Dali – Surrealist Painter Salvador Dali was a Spanish painter. He was a surrealist painter. Salvador Dali was born on 11th May 1909 in Figueres, Spain. His brother, who was also called Salvador, had died nine months before Dali was born. Dali, who was encouraged by his parents, believed that he was his brother in another form, and this was often seen in his work. Dali went to drawing school and the first time his work was shown to the public was in 1917. It was a series of charcoal drawings and the exhibition was organized by his father. His mother died in 1921 of cancer and he was extremely sad about it and it affected him badly. Dali then moved to Madrid to study at the School of Fine Arts. He experimented with a type of painting called cubism, which means that the painting was made up with a whole lot of little cubes. He got a reputation for being a bit eccentric or unusual! When he visited Paris he met the great Pablo Picasso! Wow. Dali joined the Surrealist group in the Montparnasse quarter of Paris. Surrealism in art is more about dreamlike images as opposed to lifelike paintings. He painted ‘The Persistence of Memory’, one of his most famous works, in 1931. It features the famous picture of the melting clock. Dali and his wife, Gala, moved to America to escape World War 2. They lived there for 8 years. When he returned to Paris after World War 2, he started experimenting with all sorts of things. -
Salvador Dalí D1
Sketching the Artist: A Lecture on painter Salvador Dalí Part 1: 1904-1944 PART 1 Family mother: father: younger sister: elder brother: wife: Family Portrait (1920) Family mother: Felipa Domènech i Ferrès father: younger sister: elder brother: wife: Untitled Portrait of the Artist’s Mother (1920) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: elder brother: wife: Portrait of My Father (1920) Portrait of my Father (1925) Family Portrait (1920) The Invisible Man (1932) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: Ana María elder brother: wife: Figure at a Window (1925) Seated Girl Seen from the Back (1928) Portrait of My Figure at a Table (1925) Sister (1923) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: Ana María elder brother (deceased as toddler): Salvador Galo Anselmo Dalí wife: Portrait of My Dead Brother (1963) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: Ana María elder brother: Salvador Galo Anselmo Dalí wife: Gala (Helena Diakianoff Devulina) Paranoiac Metamorphosis of Gala’s Face (1932) Leda Atomica (1947-49) The Angelus of Gala (1935) Dalí from the Back Painting Gala from the Back Eternalized by Six Virtual Corneas . (1972-73) Spanish Spaces & Places Figueres: town in Catalonia Empordàn Plain: Cadaqués: Cap de Creus Port Lligat: exterior of Dalí Theatre- Museum in Figueres, Spain Spanish Spaces & Places Figueres: town in Catalonia Empordàn Plain: flat, fertile plain; frequented by Tramuntana Cadaqués: Cap de Creus Port Lligat: Rock ’n Roll (1957) Spanish Spaces & Places Figueres: town in Catalonia Empordàn Plain: flat, fertile plain; frequented by Tramuntana wind Cadaqués: fishing village east of F. -
AP SPANISH Summer Assignments
Reading Comprehension i i !.. I 1, Directions: Read the following passages carefully for comprehension. Each passage is followed by a number of I incomplete statements or questions. Select the completion or answer that is best according to the passage and fill in ,. the corresponding oval on the answer sbeel ! I' 1• lnstrucciones: Lee con cuida.do cada. uno de los pasajes siguientcs. Cada pasaje va seguido de varias prcguntas u l oraciones incompletas. Elige la mejor respuesta o terminaci6n, de acuerdo con el pasaje, y rellena el 6valo correspon l /1 diente en la hoja de respuestas. · ! ----- ----- ---- SECTION 1 ---------- ---- J Este fragme1110 es de/ an{culo "Prfncipe de Asturias: 25 anos de Lo mejor del mundo t premiar a la Hurnanidad" por Juana Vera, publicado en la re Los descubridores de la World Wide Web o del geooma, l vista Ecos. l pero tambien quienes luchan con el cancer y el sida. se alteman con los mejores sopranos, pintores, compositores, j Principe de Asturias juristas, pensadores, actores, economistas, literatos o arqui -M. D. Albiac Murillo tectos, junto a organismos como la estaci6n internacional de) Espacio o de la Antartida. las misiones espaiiolas en I 25 aiios de Premiar a la Hurnanidad Burundi y Ruanda o la universidad que dirigfan los jesuitaS Los mejores impulses de la humanidad se intentan reconocer asesinados en El Salvador. Quizas este dificil equilibria hace a estos premios tan I en Espaiia con los Premios Principe de Asturias, que otorga1 el propio heredero de la Corona espaiiola. Es una espcciales y reconocidos, por mucbo que cl monto sea sim fiesta que une a instituciones y sociedad como en ningun b6lico, su glamour poco mediatico y se exija de los premia otro momento y, ademas, es una mirada global positiva, dos cjerto contacto con el publico. -
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. -
Rajgor Auction 54 Inside DR
Highlights of the Auction 11 93 43 94 53 306 Bidding Methods Internet Bids - Get Registered on www.Rajgors.com (Internet Bidding closes on 23 September 2016 at 1:00 pm onwards) Fax Bids to +91-22-23870 647 (must be received on or before 23September by 2:00 pm) Postal Bids to the Regd. Office (must be received on or before 23 September by 2:00 pm) SMS Bids on +91 90040 82585 (must be received on or before 23 September by 2:00 pm) Email Bids to [email protected] (must be received on or before 23 September by 2:00 pm) Rajgor’s Upcoming Auctions Rajgor’s Auction 55 Rajgor’s Auction 56 Friday, 28 October 2016 Saturday, 5 November 2016 Dhan Teras Auction 6:00 pm onwards Internet Indore Maha-Mudra Utsav 2016 3:00 pm onwards Sajan Prabha Garden, Vijaynagar Square, Indore Auction 54 Nudes & Crowns The Manoranjan Mahapatra Collection of Artistic Nudes & Old World Crowns Part 2 Friday, 23rd September 2016 3.00 pm onwards In association with 14th Annual Coin, Banknote & Philately Fair 2016 VIEWING Monday 19 September 2016 11:00 am - 6:00 pm at Expo Center, Arcade, Tuesday 20 September 2016 11:00 am - 6:00 pm World Trade Center Wednesday 21 September 2016 11:00 am - 6:00 pm Cuffe Parade, Thursday 22 September 2016 11:00 am - 6:00 pm Mumbai 400005 At Rajgor’s SaleRoom Category Lots 605 Majestic Shopping Centre, Near Church, 144 JSS Road, (A) Artistic Nudes 1-361 Opera House, Mumbai 400004 Ancient Coins 1-16 Modern World Coins 17-239 Friday 23 September 2016 11:00 am - 2:00 pm Tokens 240-254 At the World Trade Centre, Mumbai Medals 255-307 Paper Money 308-361 DELIVERY OF LOTS Delivery of Auction Lots will be done from the Mumbai Office of the Rajgor’s. -
An Exploration of Salvador Dalí's “Society Portraits”
©Rev. Robert Keffer, 2021 Moguls, Matrons, and Aristocracy: An Exploration of Salvador Dalí’s “Society Portraits” from the 1940’s Through the 1960’s By Rev. Robert Keffer, OSB What is the Society Portrait? How do art critics and historians define the society portrait? The first definition that might come to mind may be pejorative: a slick, glossy and flattering depiction of an unattractive person, who happened to be blessed with money and pedigree. Many would consider the society portrait a hack job; something the artist creates to pay the bills and/or to gain entré into a higher level of society. This criticism has been applied especially to the portraiture styles of the late 19th century, and the continuation of their style to the current time: portraiture that is academic/realist, and follows mainly the techniques of John Singer Sargent and his imitators. Current revisionist criticism, however, will show that the society portrait can and often does have lasting artistic merit. Consider, for instance, the famous Portrait of Consuelo, Duchess of Marlborough and Her Son, Lord Ivor Spencer-Churchill (1906), by Giovanni Boldini. Grace Glueck in her New York Times article, “Society Portraits of Giovanni Boldini”, considers this famous work nothing more than “a frothy meringue… an almost erotic tableau in which a beautiful small boy sprawls against the slender body of his vivacious mother, who is regally ensconced on a Louis XV settee, and clad in a long splash of shimmering satin.”1 However, Ms. Glueck, in the same article, states that Boldini could also do work of real character with “his vibrant 1897 rendering of a world-weary Whistler, for instance, lounging against a chair back, his head supported by an eloquently ‘artistic’ hand and a wonderful self-portrait of 1911 in which, his portly little body half-turned to the viewer, he seems to regard with jaded eyes a rogue's gallery of subjects visible only to him.”2 Boldini aside, history refutes the theory that the society portrait has always been and always will be empty flattery and vain show.