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Antoni Tàpies (2005) Paint and Pencil on Paper 23,8 X 16,5 Cm II

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Antoni Tàpies (2005) Paint and Pencil on Paper 23,8 X 16,5 Cm II Dibuix negre V (Black Drawing V), Antoni Tàpies (2005) paint and pencil on paper 23,8 x 16,5 cm II Enric Pujol Controversial Dalí The politico-ideological controversy with the Catalan intelligentsia SEX, Madness and POLITICS As is self-evident, the statement that Salvador Dalí was one of the most controversial figures (in Catalonia and the world) of the 20th century does not need too much explanation. However, the great public controversy has focused, basically, upon two points: one about whether Dalí was mad or not (a debate especially acute during the artist’s lifetime) and the other about his “atypical” sex life (a controversy especially intense after his death). Neither of these aspects will be dealt analyse the question in detail and that with here, as there are a host of books have been supplemented by declarations on both subjects. As a mere indication, by people close to Dalí, like for example we ought to mention, with regard to the his ex-secretary Enric Sabater2. Above all supposed madness, the book by Àngel we must point out two books: the one by Carmona Dalí no és cap boig (Dalí is no Clifford Thurlow Sex, Surrealism, Dalí and Madman), published in the 1960s, which, Me (which includes the confessions of just by its very title, resolves the polemic the gallery owner Carlos Lozano) and the in a quite categorical and well-reasoned biography by Ian Gibson The Shameful way1. As to the artist’s sex life, lately there Life of Salvador Dalí (in which, in a have appeared different publications that psycho-analytical way, great importance 2 In an interview in Avui (31-5-1998, pp. 51-52), E. ■ 1 The original version in Castilian was published by Sabater denied all trace of homosexuality in Dalí: “He Plaza & Janés (Barcelona: 1963) and now a Catalan wasn’t. What Dalí had were other things. He practiced version is being prepared by Llibres del Segle. masturbation from a distance”. 124/125 II Controversial Dalí Enric Pujol is given to a supposed —and very an unequivocal universal dimension, a arguable— repressed homosexuality culture especially strong, according to as the key to interpreting the life and Dalí, in the philosophical and artistic work of Dalí)3. spheres (two of his favourite fields). I wish here to deal with an aspect less Therefore one of the “mature” Dalí’s basic studied but no less crucial when it comes trios of great intellectual reference points to explaining the controversy that the was that made up by the philosopher figure and work of Dalí stirred up in Francesc Pujols, the architect Antoni the society of his day: I am referring Gaudí and the painter Marià Fortuny to ideological and political reasons. (names “of reference” to which one could even add others, from quite different Although these were widely known periods, like the painter Modest Urgell, about during the process of Francoist the draughtsman Joan Junceda, the liquidation, they have gradually become inventor Narcís Monturiol, the writer and more and more neglected and may quite painter Santiago Rusiñol or the mediaeval soon be reduced merely to the field philosopher Ramon Llull). Dalí, therefore, of specialists if the centenary of the was never a rootless man who abjured his artist’s birth ends up as a mere apology own culture (as were, at a given moment, and does not serve to make a critical Eugeni d’Ors or Ferran Valls-Taberner). assessment (and naturally balanced and To review, even briefly, the total of the unbiased) of the man4. The different love and hatred that Dalí aroused in politico-ideological standpoints that Dalí the bosom of the Catalan intelligentsia championed throughout his life won him would go far beyond the limits of an passionate support and criticism from article such as this (and ten more, for outstanding intellectual figures of the sure); for this reason four significant time, both Catalan and from elsewhere5. stages in Dalí’s career have been chosen Especially controversial was his figure in order to see the game of adherences and work in the bosom of the Catalan and rejections that his politico-ideological intelligentsia of his day, as it was the (and aesthetic) standpoint aroused among “closest” and where Dalí had lain what the Catalan intellectuals of the day. we might call his basic ideological foundations. It is worth saying, as a prior question, Yellow is the colour of the avant-garde that Dalí, despite the many politico- A first stage, corresponding to the period ideological twists and turns that he of his youth, is the appearance of the made, never renounced being Catalan ‘Yellow Manifesto’ (1928), signed by Dalí, (even though he made it compatible Lluís Montanyà and Sebastià Gasch. It with being a “Spanish” and cosmopolitan is a very significant moment because it man par excellence): he always explicitly puts Dalí in the most daring groups of the defended the existence of a Catalan Catalan avant-garde attitudes of the day. culture with its own personality and What sort of avant-garde was it? Daring, ■ 3 Published, respectively, by Planeta, 2000, and Empúries, 1998. 5 A first approach to Dalí’s relations with important 4 The need to carry out this critical exercise has already figures of his time is the catalogue Salvador Dalí. Àlbum been noted by N. Selles: “Al voltant de Dalí. D’usos, de família, by Montse Aguer and Fèlix Fanés, Fundació lectures i valoracions”, Diari de Girona (21-9-2003). Gala-Salvador Dalí/Fundació “La Caixa”, Barcelona: 1998. II provocative, breaking with tradition, painters like Picasso or Miró and with critical of the situation of the moment. young poets like García Lorca7. We have enough examples of it in the The radical nature of the young Dalí’s large number of denunciations made of plastic and aesthetic proposals went hand it. Thus, among other things denounced in hand with radical ideas in the political are “the sentimental influence of the arena. We have precise knowledge of his racial common ground of Guimerà”, the youthful ideas thanks to some diaries that “mawkish sentimentality served up by he wrote at the beginning of the 1920s (A the ‘Orfeó català’”, “the complete lack of Diary: 1919-1920. My Private Impressions youth of our young people”, “the young and Memories), but which was not people trying to repeat the old painting published until 19948. In these writings and the old literature”, “the absolute lack he shows himself to be unequivocally of background knowledge of the critics on the side of the Russian revolution with respect to the art of today and the and the struggle of the Catalan anarcho- art of yesterday”, “the painters of crooked syndicalist trade unions against the trees”, “current Catalan poetry made of owners and against all bourgeois order. It the most tired Maragallian clichés”, the should be said that this attitude coincided “psychology of the boys and girls that fully with that held by certain radical sing Rosó, Rosó”… At the end of the text, sectors of Catalanist republicanism in on the positive side of things, there is a L’Empordà, then all-powerful in Figueres list made of the “great artists of today”, and the county. This mixture of political among whom are mentioned Picasso, radicalism and aesthetic daring made De Chirico, Brancusi, Breton, Aragon, contact with the Parisian surrealists Cocteau, Garcia Lorca… and Joan Miró6. easy, through the affinity he had with The appearance of the manifesto made the programmatic foundations of the the young Dalí’s name, at the age of movement. However, the key figure that 24, as one of the principal points of made the incorporation of Dalí into the reference of the plastic and aesthetic surrealist movement possible was Joan avant-garde of the day. Naturally, this Miró, who advised him very well and was possible because, then already, Dalí made the right introductions for him to was a solid “young hopeful” who had be able to make his very own “conquest” achieved putting on his first individual of Paris9. exhibition, in 1925, at the Dalmau Gallery Therefore, then, in this early period of in Barcelona (a great success with the his professional career, Dalí had the intellectuals of the Ateneu Barcelonès), support of very important names in the who had already published texts in such avant-garde intelligentsia. As well as an emblematic avant-garde magazine as Miró, he was backed by the entire team L’Amic de les Arts and who had already of the magazine L’Amic de les Arts: Josep made personal contact with famous Carbonell i Gener (the chief driving force ■ 6 Reproduced in the catalogue d. giralt-miracle (ed.): sister Anna Maria. See Noves imatges de Salvador Dalí, Avantguardes a Catalunya, 1906-1939, Fundació Caixa Columna, Barcelona: 1988. de Catalunya, Barcelona: 1992, p.309. 8 Ed. 62, Barcelona: 1994 7 One of the pioneering voices when it came to 9 See the letter by Miró reproduced in the catalogue pointing out the high level of appreciation that certain Dalí: els anys joves (1918-1930), Generalitat de intellectual circles showed the young Dalí was his Catalunya, Barcelona: 1995. 126/127 II Controversial Dalí Enric Pujol behind the publication), the poet Josep endangering the republican regime itself. Vicenç Foix, and Gasch and Montanyà, In the autobiography, Dalí tells of his with whom he had signed the “Yellow flight from Barcelona to Paris before the Manifesto”. The counterpoint to this military repression against the Catalan support was the opposition of Eugeni capital and explains that once he had d’Ors, who in 1929, in an article in La arrived in the French capital he made, Gazeta Literaria, criticised the fact that under the impact of that experience, the Dalí had hung, in an exhibition at the painting Premonition of Civil War.
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