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Salvador Dalí September 2015 18 September - 18 October 2015

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Salvador Dalí September 2015 18 September - 18 October 2015 operagallery.com Salvador Dalí September 2015 18 September - 18 October 2015 2 Orchard Turn # 04-15 ION Orchard 238801 Singapore T. + 65 6735 2618 - [email protected] Opening Hours • Weekdays: 11 am - 8 pm Weekends: 10 am - 8 pm IAR page: and first © Cover Preface 2015 marks the 50th Anniversary of Singapore’s Independence, and such a substantial milestone calls for an exhibition of equal merit. It is with this in mind that we are proud to showcase one of the most illustrious names in 20th century art: Salvador Dalí. Dalí developed his own symbolic narrative that is prevalent throughout his works; manifested beautifully in his sculptural works. Exquisite examples of these will be on exhibition along the esteemed Orchard Road, where monumental and museum sized works will be in situ for a full month, transporting viewers from reality to otherworldly destinations, inviting them to bear witness to transcendental creatures, anthropomorphic figures and warped timepieces, that truly exemplify 3 Dalí’s vivid imaginings. Celebrated globally, Dalí was a pioneer in his field and spawned a legacy that still burns bright more than a quarter of a century after his death. We are pleased to present to you these prestigious works by this most captivating artist. Gilles Dyan Stéphane Le Pelletier Founder and Chairman Director Opera Gallery Group Opera Gallery Asia Pacific The Legacy of Salvador Dalí Anecdotes from the 20th century’s most illustrious, provocative and idiosyncratic self- proclaimed genius. — ‘Each morning when I awake, I experience again a supreme pleasure – that of being Salvador Dalí.’ — Salvador Dalí began his life on May 11, 1904, the second-born son of Salvador Dalí Cusí, a powerful notary, and Felipa Domènech Ferrés, a kind and doting art teacher. His older brother, also named Salvador Dalí, had died in infancy only nine months before. His brother’s death had a deep psychological impact on the artist, who throughout his life believed himself to be a reincarnation of the first-born Salvador. — ‘None of the professors in the school being competent to judge me, I retire.’ In 1926, Dalí was 5 expelled from the San Fernando Academy of Art in Madrid for refusing to sit for his oral exams in art history on the premise that he was more intelligent than any of his professors. Producing the brilliant painting Basket of Bread that same year proved Dalí’s technical mastery, and the precocious artist moved to Paris shortly after leaving school. Upon arrival he phoned up Pablo Picasso, his idol, saying ‘I have come to see you before visiting the Louvre’, to which Picasso replied, ‘You are quite right.’ — ‘ Picasso loved me a lot. Despite his Communist ideas, Picasso is a genius, and so am I.’ — In April of 1929, Dalí met and immediately fell in love with Elena Ivanovna Diakonova, known by her nickname Gala, who was married at the time to his friend and poet Paul Éluard. The two shared an instant connection. From that moment on, Gala became Dalí’s muse, partner and business manager, holding a mysterious power over the artist until her death, six years before his, in 1982. — A voracious reader of Sigmund Freud, Dalí was naturally drawn to the artists of the Surrealist movement who found artistic inspiration in theories of psychoanalysis and paranoia. Though sharing visual interests with the group, Dalí’s involvement with the Surrealists, especially its founder and — ‘Painting is an infinitely minute part of my personality.’ Dalí’s entire being was a work of art – leader André Breton, became increasingly strained in the 1930s due to his persistent self-promotion his speech, his appearance, his behaviour - planned, curated and executed to a perfection of the and unwillingness to conform to the Surrealist agenda. By 1939, Dalí’s greed and celebrity status outrageous. A performance piece that lasted from the moment of his birth to that of his death, had ruptured his relationship to the group, marking an end of all of his affiliations with artistic Dalí’s life incorporated painting, psychoanalysis, mathematics, debauchery, self-obsession and an groups and movements. open declaration of sympathy for all who lacked the privilege of being him. — André Breton coined the nickname ‘Avida Dollars’, an anagram of Dalí’s name, to poke fun at the — Dalí’s idiosyncratic talent is as fascinating now as it was in his lifetime, and his legacy as a figure artist’s insatiable greed. Dalí employed his considerable talents to supplement his unabashed love and artist live on well past his death. While his antics run risk of eclipsing his art, his brilliant 6 for money, appearing in advertisements, creating logos and even doodling on uncashed checks at manipulation of images and inventive, unguarded persona have become seeds for generations of 7 restaurants, assuming that no one in their right mind would cash a check with an original Dalí sketch inspiration and interpretation of modern art. Reflections on anachronisms, interactions between on the back of it. psyche and medium, evocation of traditional mastery with contemporary analysis – notions that are seminal in the inspiration of an entire generation of artists, no less Andy Warhol and Jeff Koons — ‘Liking money like I like it is nothing less than mysticism. Money is glory.’ than David Bowie and Lady Gaga. — ‘Compared to Velázquez, I am nothing. But compared to contemporary painters, I am the biggest — ‘Let my enemies devour each other.’ genius of modern time’. Dalí’s early work drew from various classical influences including Raphael, Bronzino, Vermeer and Velázquez, whom he particularly admired. Velázquez’s influence can be seen in some of Dalí’s most astounding works, such as his 1938 The Image Disappears which incorporates elements that Dalí expounded on in his 1948 treatise Fifty Magic Secrets of Painting, in which he ranks the masters based on criteria of technique, composition, originality, inspiration and mysteriousness. — Dalí’s home in Portlligat was decorated by a number of portraits of people with moustaches, including a portrait of Velázquez. Dalí used to claim that he collected moustaches belonging to famous people, often choosing them as much for their characters as for their art. L’Œil fleuri, 1944 Oil and tempera on joined canvas 176.5 x 392.4 cm - 69.5 x 154.5 in. Price on request 8 Provenance The oil-on-canvas L’Œil Fleuri was developed into a set design for the 1944 ballet production Tristan Fou (Mad Tristan). Marquis de Cuevas (acquired from the artist, 1944) While he was primarily known as a painter, Dalí worked across a wide span of media including jewellery, film, sculpture Mrs. Margaret Rockefeller de Cuevas (acquired by descent from the above) and experimental stage design. Dalí was extensively involved in ballet and theatre, first designing for shows as early Raymundo Larrain, Santiago (acquired by descent from the above, 1976) as 1927 and frequently entering these collaborations throughout his career. For Dalí, theatre productions provided an Private collection (acquired by descent from the above) environment in which to explore a personal interest in the architectural elements undergirding painting. Haunting and intense, the eyes of L’Œil Fleuri draw attention to Dalí’s obsession with perception and attempts to produce a symbolic language capable of communicating his inner life. Certificate Robert P., Nicolas R. & Olivier M. Descharnes have confirmed the authenticity of this work This work is registered in the Archives Descharnes under the reference No. h1070 Don Chisciotte, Evocazione di Dulcinea... rinunzio ai miei diritti di gentiluomo, 1964 Signed and dated ‘Dalí 1964’ (lower left, lower centre and lower right) and inscribed ‘Dulcinea’ (lower left) Black ball-point pen, brush and gray wash and aerography on card laid down on masonite 42.8 x 55 cm - 16.8 x 21.7 in. Price on request 10 Provenance Private collection (acquired from the artist), Europe Exhibited Augsburg, Römisches Museum, Dalí, Mara e Beppe, Bilder einer Freundschaft, September - November 2000 Literature Miguel de Cervantes, Don Quischiotte della Mancia, Milan, Aldo Palazzi (ed.), 1965, ill. p. 369, details ill. pp. 141, 309 and 369 Certificate Robert P., Nicolas R. & Olivier M.Descharnes have confirmed the authenticity of this work This work is registered in the Archives Descharnes under the reference No. d5338 The Fundació Gala - Salvador Dalí has confirmed the authenticity of this work In 1964 and 1965 Dalí created a series of 26 works illustrating Miguel de Cervantes’ masterpiece Don Quixote. The illustrations were published in a serialized edition of the novel that was distributed through the magazine Tempo. Varied in their graphic style and phantasmagorical imagery, Dalí’s illustrations demonstrated the artist’s fascination with one of the most influential works of Spanish literature. Inspired by Don Quixote’s delirious trips through Spain, Dalí adopts the protagonist’s neurotic universe to create unprecedentedly powerful illustrations that combine the literary escapades with his own staggering genius. Monumental sculptures ‘A true artist is not one who is inspired, 12 but one who inspires others.’ Salvador Dalí Persistence of Memory, 1980, Monumental Inscribed ‘Dalí’ Bronze, edition of 8 + 4 EA H: 500 cm - 196.9 in. Price on request 14 Exhibited Paris, Place Vendôme, Dalí Monumental Sculpture, 1995 Copenhagen, Arken Museum of Modern Art, Dalí, 1999 Guangzhou, Guangdong Museum of Art, Dalí: A Journey into Fantasy, 2002 • Beijing, China Millennium Monument, Dalí: A Journey into Fantasy, 2002 Shanghai, Shanghai International Urban Planning Center, Dalí: A Journey into Fantasy, 2002 - 2003 Wuhan, Wuhan International Urban Planning Center, Dalí: A Journey into Fantasy, 2003 Shanghai, The Shanghai Art Museum, Salvador Dalí in Shanghai, 2009 New York, Time Warner Center, The Vision of a Genius, 2010 - 2011 Marseille, Galerie Mickael Marciano, Salvador Dalí, 2013 Literature Dalí: A Journey into Fantasy, exh.
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