List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
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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. -
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. -
"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. -
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. -
Salvador Dali 1904-1989
Salvador Dali 1904-1989 Ideas of things to bring to the classroom with you: Salvador Dali presentation CD and script/folder Box with different hats – “A Matter of Style” See end of script for this idea IF you have time. Book Salvador Dali by Dick Venezia from the series, “Getting to Know the World’s Greatest Artists” You can read this book to get a quick overview of Dali’s life and art. You can also read to the class if time allows or just flip through it with them. Introduce yourself and tell the children that you are in today for Art in the Classroom. Before we can begin today, can anyone tell me the important points about the artist you spoke about last time in Art in the Classroom? Spend a minute or two reviewing and then move on. When we look at the artwork that I am going to show you today, let’s keep in mind the tools that an artist uses. “Elements of art page” Line, color, shape, light, texture, space Slide 1 Clues about the personality of today’s artist: He has said: “Nothing is more important to me … than me.” He once arrived at an important event in a Rolls Royce convertible filled with cauliflower. He has also said “Every morning when I wake up I experience the exquisite joy – the joy of being Salvador Dali – and I ask myself in rapture ‘What wonderful things this Salvador Dali will accomplish today?’ ” As you may have guessed, today’s artist, Salvador Dali, is going to be different. -
The Young Dali Exhibition Guide
This document is posted publicly for non-profit educational uses, excluding printed publication. To cite include the following: The Dali Museum. Collection of The Dali Museum Library and Archives. Dali Works from 1914 to 1930 Salvador Dali Museum St. Petersburg, Florida The Young Dali: Works from 1914-1930 Director's Comments by ]oan R. Kropf, Curator The Young Dali: Works from 1914-1930 at the Salvador Dali Museum is truly a memorable event for our institution, as it marks the first time in our 13-year history that we have an The Young Dali: Works from 1914-1930 is a selection of art that traces Salvador Dali's early development and the foundations of his style. This new exhibition exhibition of Dali paintings other than our own. In the past, Includes a large portion of the exhibit, Salvador Dali...The Early Years, which was we have been pleased to show some loaned Dali works, but , ^inized in 1994 by the South Bank Centre, London; The Metropolitan this is the first time you will be seeing such a large selection \jM-a-um of Art, New York; the Museo Nacional Centra de Arte Reina Sofia, from other collectors and institutions worldwide. Madrid; and the Fundacio Gala-Salvador Dali, Figueres, Spain. In an effort of this magnitude, there are always many people who need to be thanked, and I would like to begin by acknowledging the co-founders of the Dali Museum, A. Reynolds and Eleanor R. Morse, whose vision first brought the collection to St. Petersburg, Florida, in 1982. And now through their personal friendship with Ana Beristain, curator of the Dali Collection of the Reina Sofia Museum, Madrid, who was instrumental in making this international show pos- sible, future plans have become a reality. -
Rêverie” (Notes, Fragments, and Collage for a Lecture) by Juan José Lahuerta
©Juan José Lahuerta, 2007 & 2016 “Rêverie” (notes, fragments, and collage for a lecture) by Juan José Lahuerta - “Rêverie” was published in Le Surréalisme au Service de la Révolution, no. 4, Paris, December 1931, pp. 31-36. - Issues 3 and 4 appeared simultaneously in December 1931. Dalí also contributed to issue 3 with the major article “Objets surréalistes” and a note on “Visage Paranoïaque,” together with a postcard about Picasso’s “black period.” - Both of these issues have a distinct political bent; for example, no. 3 opens with the long Aragon article “Le surréalisme et le devenir révolutionnaire.” Thus a certain tension arises between Dalí’s contributions, particularly “Rêverie,” and this strongly political vein. - The consequences of publishing this “story,” if it can be called that, must be understood within the context of this tension. In fact, these consequences had a significant impact on the Surrealists, since the piece helped spark the definitive break between Breton and Aragon. Once it was published, the story’s pornographic nature caused a considerable scandal, to the point that Surrealists who were members of the Communist Party were called before a commission that demanded explanations of them. Shortly thereafter, in March of 1932, Éditions Surréalistes published Breton’s plaquette Misère de la poésie. Its objective was to defend Aragon, who found himself embroiled in legal and police proceedings following publication of the poem “The Red Front.” In this plaquette, however, and contrary to party directives and the ambiguous position of Aragon himself, Breton defended such things as the complementary relationship between dialectic thought and Freudian analysis. -
20120211--Dutra Ebel
The Hand in Digital Culture: Marcel Duchamp, Salvador Dalí and the “Immaterial” Connection Ivana Ebel Joatan Preis Dutra MA in Digital Media PhD Candidate in Media University of the Arts Bremen Bauhaus-Universität Weimar [email protected] [email protected] SUMMARY I – ABSTRACT ............................................................................................................................... 3 II – INTRODUCTION .................................................................................................................... 3 III – THE IMMATERIALISM ........................................................................................................ 5 IV – MARCEL DUCHAMP ........................................................................................................... 5 V – SALVADOR DALÍ ................................................................................................................ 11 VI – THE RAINY TAXI ............................................................................................................... 15 VII – CONCLUSION .................................................................................................................... 18 VIII – REFERENCES ................................................................................................................... 19 LIST OF IMAGES Figures 1 and 2: Portrait of the Artist’s Father and Portrait of Dr. Dumouchel ............................ 6 Figures 3 and 4: The Chess Players and Nude Descending a Staircase ....................................... -
Inside the Spanish Heartland
SALVADOR DALI — LIQUID DESIRE THE SUNDAY AGE 2009 REAL LIVES RAYMOND GILL Archeological reminiscence of Millet’s Angelus (c. 1934) oil on wood panel 31.8 x 39.4 cm Salvador Dali The Salvador Dali Museum, St Petersburg, Fl. Worldwide rights: © Salvador Dali, Fundacio Gala- Salvador Dali, VISCOPY 2009. Inside the Spanish heartland It’s fitting that the world’s most comprehensive Masterpieces Liquid Desire exhibition. rust-coloured walls are studded with The idea for a Dali museum in plaster loaves of country bread. collection of Salvador Dali artworks is held his home town was announced by Once inside, visitors discover Dali’s where he spent most of his life. Dali himself in 1961. He had his art collection of his paintings, sculptures, collection to offer, but not the money to “puzzle pictures”, dazzlingly creepy restore his choice for its location — the jewellery designs, holograms, film, HE prosperous Catalan business, much as it did when Dali old theatre in Figueres, which had been costumes and interactive objects. There town of Figueres sits on a was born there in 1904. In the past 35 damaged in the Spanish Civil War in are also rooms devoted to a few works by verdant plain known as the years it has also prospered from having 1939. Money from a war reparations artists Dali collected, including Spanish “Emporda”, 20 kilometres the Teatre-Museu Dali (Dali Theatre- fund (significantly, not the arts ministry) Renaissance painter El Greco and south of the Pyrenees and Museum) in the centre of the town. allowed Dali to oversee the restoration French surrealist Marcel Duchamp. -
1 Dalí Museum, Saint Petersburg, Florida
Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2014 TITLE: “Salvador Dalí: Middle 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: 6-8 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. -
The Great Masturbator, 1929 Oil / Canvas, 110 X 150.5 Cm Signed and Dated at Lower Left Corner: “Salvador Dalí 1929” Museo Nacional Centro De Arte Reina Sofía, Madrid
The Great Masturbator, 1929 Oil / canvas, 110 x 150.5 cm Signed and dated at lower left corner: “Salvador Dalí 1929” Museo Nacional Centro de Arte Reina Sofía, Madrid. Dalí Legacy An iconic work by Salvador Dalí and among the first paintings we may consider as belonging to the painter’s surrealist period. A movement that emerged in France in 1924, surrealism was to influence literature and the plastic arts, being highly important in poetry and painting. Heir to Dadaism, whose taste for provocation it retains, surrealism might also be seen as the spiritual progeny of romanticism and symbolism, whose values, lyricism, melancholy nostalgia and faith in the ability of art to transform the world it conserves. André Breton, who wrote the first surrealist manifesto (1924), was the father of this movement. He proposed mental automatism, the aim of which was to express in speech, writing or in any other manner the true working of thought. Surrealism is based on the world of dreams and the subconscious, thereby linking it with Sigmund Freud’s psychoanalysis. Going beyond overturning traditions, the surrealists overturn values. They set up their own gallery of forebears, and they reinstate or exalt poets and artists who had been spurned or rejected in the name of good taste. They accord little value to all that is bright, harmonious, well-balanced and purified, and thus glorify all that is hermetic, amazing, hybrid and compound. As we can read in the first manifesto, they therefore drew up their own imaginary genealogical tree for the history of art, in which the main branches are: Hieronymus Bosch, Brueghel the Elder, Arcimboldo and Francisco de Goya.