Salvador Dalí - Forgotten Horizon, 1936. Oil on canvas
From the Tate Gallery, London:
Dalí’s disturbing, imaginary landscapes often contain references to his own life. Forgotten Horizon is a typical example, drawing upon memories of childhood holidays on the beach at Rosas on the Costa Brava. The striding woman in the distance is his cousin, Carolinetta, while the dancing figures in the foreground were inspired by a picture on a postcard. Dalí intended the effect to be hallucinatory, with the figures appearing as if projected onto a prepared background or theatrical set.
Salvador Dalí - Soft Construction with Boiled Beans: Premonition of Civil War, 1936.
Oil on canvas
Everyone who has ever tried painting with oil colours must understand how fucking talented this guy was.
Gets me speechless.
Salvador Dalí - Mountain Lake, 1938. Oil on canvas
From the Tate Gallery, London:
Mountain Lake demonstrates Dalí’s use of the multiple image: the lake can simultaneously be seen as a fish. By such doubling he sought to challenge rationality. The painting combines personal and public references. His parents visited this lake after the death of their first child, also called Salvador. Dalí seems to have been haunted by the death of his namesake brother whom he never knew. The disconnected telephone brings the image into the present by alluding to negotiations between Neville Chamberlain, the British Prime Minister, and Hitler over the German annexation of the Sudetenland in September 1938.
Salvador Dalí y Federico García Lorca - 1936
Salvador Dali- Pagan lepidopterus [in possible collaboration with Buñuel],1935
André Breton, Salvador Dali, René Crevel et Paul Eluard, 1930
S. Dalí, Surrealist Figure in Landscape of Port Lligat, ink; 1933
Portrait of Gala with Two Lamb Chops Balanced on Her Shoulder, 1933 (large image)
“They immediately asked me if it was true that I had just painted a portrait of my wife with a pair of fried chops balanced on her shoulder. I answered yes, except that they we’re not fried, but raw.
Why raw? they immediately asked me. I told them that it was because my wife was raw too.
But why the chops together with your wife? I answered that I liked my wife, and that I liked chops, and that I saw no reason why I should not paint them together.”
The bizarre subject of this painting is a powerful symbol of Dalí’s desire to “devour” his wife, model and muse, whose soul and intellect are fused in perfect harmony with his own.
This exquisitely detailed, hyper-realistic painting, little bigger than a matchbox in size, is a particularly fine example of Dalí’s consummate technical skills, whereby he employs the use of photography as a tool to assist with artistic expression.
Important iconographic elements of the artist’s work are clearly visible in this painting: the landscape of Portlligat, glowing in the warm Mediterranean light achieved with a predominance of ochres, complemented with a wide range of colours applied in small, precise brushstrokes; the lonely figure of a child with a hoop, a self-portrait of Dalí gazing at the artist’s house; the sumptuous quality of the edible items.