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Salvador Dalí Life and Death in the Visions of Salvador Dalí Illustrations for Les Chants de Maldoror and The Divine Comedy Organized by Carole Sorell Incorporated David S. Rubin, Curator Presented with generous support from the Park West Foundation 143 framed prints 400-600 linear feet / No rental or shipping fees / 100 catalogs included Available beginning September 2017 2 Life and Death in the Visions of Salvador Dalí Salvador Dalí, Plate 11, Les Chants de Maldoror, 1934, Salvador Dalí, Choleric People from The Divine Comedy, 1960, 15 7 3 intaglio print, sheet: 13 1/8 x 10 in. / plate: 8 ⁄16 x 6 ⁄8 in. wood engraving on wove paper after a watercolor, 9 ⁄4 x 7 in. 3 Exhibition Package • 143 framed prints, ready to hang • Didactic labels and wall text panels • 100 catalogs with checklist, illustrations of selected works, and essay by David S. Rubin • 100 posters • 50 copies of Dalí - Illustrator by Eduard Fornés (2016, hardcover, 407 pages) • Press kits • Docent training • Hosted VIP reception • National marketing and PR assistance from Carole Sorell, Inc. For further information and to book the exhibition please contact Carole Sorell 845-687-9667 / 212-945-7878 [email protected] [email protected] www.carolesorellinc.com PO Box 286, Stone Ridge, NY 124844 4 Throughout his prolific career, Salvador Dalí illustrated more than 100 books. Among the most celebrated of his book illustrations are his portfolios for the Comte de Lautréamont’s Les Chants de Maldoror and Dante Alighieri’s The Divine Comedy. The exhibition Life and Death in the Visions of Salvador Dalí presents these two portfolios together. Lautréamont’s Les Chants de Maldoror (The Songs of Maldoror) was a favorite literary work among the Surrealists, many of whom found beauty in art and literature devoted to the pursuit of the irrational and the unorthodox. A poetic novel of sorts that unfolds in a non-linear fashion, Les Chants de Maldoror describes the violent and perverse character of a despicable protagonist who has renounced God, humanity, and conventional morality. Dante’s The Divine Comedy is considered to be one of the most important works in the history of Italian literature. Although it too is a poetic narrative, The Divine Comedy is told sequentially, taking its readers along with Dante on a journey through Hell, Purgatory, and Paradise. Allegorically, it is often interpreted as representing the trajectory of the soul towards God. At the suggestion of Pablo Picasso, Salvador Dalí was commissioned in the early 1930s to create a series of intaglio prints to illustrate Les Chants de Maldoror for the Swiss publisher Albert Skira. Between 1932 and 1934, Dalí created 44 intaglios for the project, and all but one appear as plates, headpieces, or tailpieces in Skira’s edition of the book. Rather than respond to specific passages of text by Lautréamont, Dalí’s illustrations are free interpretations and are tied to themes that are also prevalent in his Surrealist paintings of the 1930s. Throughout the series viewers will see Dalí’s disturbing visions of violence and death with a strong emphasis on psychological paranoia and human mortality. Dalí was initially commissioned by the Italian government in 1950 to illustrate The Divine Comedy in celebration of the 700th anniversary of Dante’s birth. Dalí’s hiring for the project became controversial in the Italian Parliament because Dalí was Spanish and not Italian. On top of that, Dalí had once declared himself “a Surrealist void of all moral values.” As a result, the government sponsorship was cancelled, but Dalí persevered. Already immersed in the project, he offered it to the French publisher, Joseph Forét, who headed Editions d’art Les Heures Claires. Between 1951-1960, Dalí painted 100 watercolors in preparation for the publication of The Divine Comedy. The wood engravings that appear in the portfolio, which was published in 1960, are based on these watercolors. In contrast to his illustrations for Les Chants de Maldoror, Dalí’s imagery for The Divine Comedy closely follows Dante’s narrative. In viewing the portfolios for Les Chants de Maldoror and The Divine Comedy together, exhibition visitors will enjoy a rare opportunity to compare two classic bodies of work by Dalí, one created during the height of Surrealism when he was a young artist, and the other from his later years. In the earlier work, viewers will observe how Dalí employed his characteristic Surrealist style and imagery to exploring the immoral nature of an evil protagonist. In the later series, we see a mature artist applying spontaneous techniques, mastered over decades, to the art of storytelling. Additionally, viewing the two portfolios together should keep audiences thinking about the relationship between earthly sins like those committed in Les Chants de Maldoror and their potential consequences as told by Dante and expressively visualized by Dalí in The Divine Comedy. 5 About the Organizers Carole Sorell Carole Sorell is the founder, president and CEO of Carole Sorell Incorporated. Sorell’s clients include Fortune 500 companies such as Ford Motor Company, United Technologies Corporation, Philip Morris Companies Inc., and the governments of Mexico and Hong Kong. Previously Sorell was Assistant Commissioner of Public Affairs, Department of Cultural Affairs, New York City, under the administrations of Mayors Dinkins and Giuliani where she represented over 1800 cultural organizations, serving as the liaison to the Mayor’s Office, the Mayor’s Cultural Advisory Commission, the NYC Commission for the United Nations, NYC & Company (formerly the New York City Convention & Visitors Bureau) and the Congressional Arts Caucus. She also served as Vice President of the American Council for the Arts, where she developed and implemented promotional and marketing strategies for agency programs and advocacy initiatives, which achieved national awareness and celebrity participation. Under this mantle, she was a member of President Clinton’s Goals 2000 Leadership Team, hosted congressional breakfasts and meetings on the Hill, and supervised a national conference, Art Education for the 21st Century Global Economy, bringing together major leaders in the fields of government, business, arts and education. As a Partner and Vice President at Adams Rinehart (now Ogilvy Adams & Rinehart) she headed a division where she worked with leading financial clients. As a Senior Vice President at Ruder Finn, she originated and directed total marketing, communications and promotional campaigns for major corporate clients. She has worked with major personalities and celebrities which include Presidents Clinton and Reagan (working with White House staff), Betty Ford and Joan Mondale, prime ministers Yitzhak Rabin and Shimon Peres, Alexander Calder and John Houseman, Christopher Reeve, Garth Brooks, Kenny G, Michael Bolton, John Mellencamp, Frank Zappa, Ray Charles, Herb Alpert and Tony Bennett. She is listed in Who’s Who in America, Who’s Who in the World, Who’s Who of American Women, Who’s Who of Emerging Leaders in America, Who’s Who of Professional Business Women, Who’s Who in Media and Communications, and Who’s Who in Advertising. 6 David S. Rubin David S. Rubin has been an active figure in the contemporary arts field for forty years. From 2006-2014 he served as The Brown Foundation Curator of Contemporary Art at the San Antonio Museum of Art. From 2000-2006, he was Curator of Visual Arts at the Contemporary Arts Center, New Orleans; from 1994-99, he was Curator of Twentieth Century Art at Phoenix Art Museum; from 1990-94 he served as Associate Director/Chief Curator of Cleveland Center for Contemporary Art (now MOCA Cleveland); prior positions include Director of the Freedman Gallery, Albright College, Reading, PA; Director of Exhibitions, San Francisco Art Institute and Adjunct Curator, San Francisco Museum of Modern Art; Director, Santa Monica College Art Gallery; Assistant Director, Galleries of the Claremont Colleges and Assistant Professor of Art History, Scripps College, Claremont, CA. Since 1980, Rubin has been a member of the International Association of Art Critics. In 1996 he served as U.S. Commissioner for the Cuenca Bienal of Painting in Ecuador. From 2001 - 2007, he was an international juror for the Florence Biennale. He is currently listed in Who’s Who in the World, Who’s Who in America and Who’s Who in American Art. Over the years, Rubin has organized numerous solo and thematic exhibitions. Solo projects have been devoted to Martha Alf, Willie Birch, Douglas Bourgeois, Rolando Briseño, Petah Coyne, Jay DeFeo, David Halliday, Adad Hannah, Al Held, Daniel Lee, Donald Lipski, Christian Marclay, Ana Mendieta, Dennis Oppenheim, Alison Saar, Martin Puryear, Vincent Valdez, and many others; group exhibitions include Cruciformed: Images of the Cross Since 1980; Old Glory: The American Flag in Contemporary Art; It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art; Chelsea Rising; Birdspace: A Post-Audubon Artists Aviary, The Culture of Queer: A Tribute to J.B. Harter, Playing with Time, Chocolate: A Photography Exhibition, Waterflow, and Psychedelic: Optical and Visionary Art since the 1960s, which was accompanied by a comprehensive best-selling book on the subject, co- published by the San Antonio Museum of Art and MIT Press. Since 2014, Rubin has been a regular contributor to the online art journals Visual Art Source and Glasstire. Rubin holds a B.A. in Philosophy from the University of California, Los Angeles and an M.A. in Art History from Harvard University. 7 About the Sponsor Park West Foundation Park West Gallery founder and CEO Albert Scaglione and his wife, Mitsie, formed the Park West Foundation in 2006. Upon its establishment, the foundation’s primary mission was to address the urgent needs of young adults aging out of foster care in Southeastern Michigan. Under the guidance of director Diane Pandolfi, the Park West Foundation now empowers more than 1,000 local youth by offering education, shelter, clothing and food assistance.
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