terworks of Salvador Dalí
For Ruth Ornadel Tomkins, who has always relished the surreal
My ambition is to give the world of the imagination the same degree of objectivity and reality as the everyday world. What Surrealism revolutionises above all is art’s themes, and to express these I use the same means as always. It’s the themes, derived from Freudianism, that are new.
© Confidential Concepts, Worldwide, USA
© Parkstone Press International, New York, USA
© Salvador Dalí, Gala-Salvador Dalí Foundation/ Artists Rights Society (ARS), New York, USA
Introduction
Self-Portrait with the Neck of Raphael, 1921.
Oil on canvas, 41.5 × 53 cm.
Dalí Theatre-Museum, Figueres.
Francisco de Goya (1746–1828), Saturn devouring one of his sons, 1821–1823.
Mural transferred to canvas, 143.5 × 81.4 cm.
Museo del Prado, Madrid.
It is perhaps unsurprising that Salvador Dalí has proven to be one of the most popular artists of the twentieth century, for his finest works explore universal and timeless states of mind, and most of his pictures were painted with a mastery of traditional representation that has proven rare in our time. For many people, that acute realism alone would have sufficed to attract them to Dalí’s work, and it has certainly served to mask any gradual lessening of quality in his art. Moreover, Dalí was also probably the greatest artistic self-publicist in a century in which (as Igor Stravinsky commented in 1970), publicity gradually became ‘about all that is left of the arts’. In this respect he was in a class of his own for much of his lifetime, as was his brilliant wife and co-publicist, Gala.
Yet Dalí’s immense popularity is also rather ironic, for his work – in its finest phase, at least – constitutes an attack on the social, sexual and cultural morés of the very society that feted him. The notion that an artist should be culturally subversive has proven central to modernist art practice, and it was certainly essential to Surrealism, which aimed to subvert the supposedly rational basis of society itself. In time, Dalí’s subversiveness softened, and by the mid-1940s André Breton, the leading spokesman for Surrealism, was perhaps justifiably dismissing the painter as a mere showman and betrayer of Surrealist intentions. But although there was a sea-change in Dalí’s art after about 1940, his earlier work certainly retains its ability to bewilder, shock and intrigue, while also dealing inventively with the nature of reality and appearances. Similarly, Dalí’s behaviour as an artist after about 1940 throws light on the basically superficial culture that sustained him, and this too seems worth touching upon, if only for what it can tell us about the man behind the myths that Salvador Dalí projected about himself.
Salvador Felipe Jacinto Dalí i Domènech was born on 11 May 1904 in Figueres, a small town in the Catalan province of Gerona, northern Spain, the son of Salvador Dalí i Cusi and Felipa Domènech. Dalí senior was the public notary of Figueres and, as such, an important and widely respected local official. He was a very forceful man, and it was rumoured that he had been responsible for the death of Dalí’s elder brother, also named Salvador, who had been born in 1901 and who died in 1903; officially the death was caused by catarrh and gastroenteritis but according to Dalí, his older brother died of meningitis that had possibly been brought on by a blow to the head. Certainly that death left Dalí’s parents with an inescapable sense of anguish, and the young Dalí was always aware of the demise simply because both parents constantly projected his lost brother onto him, every day making comparisons between the two boys, dressing the younger Salvador in his deceased brother’s clothes, giving him the same toys to play with, and generally treating him as the reincarnation of his departed brother, rather than as a person in his own right.
Jean-François Millet (1814–1875), The Angelus, 1857–1859.
Oil on canvas, 55.5 × 66 cm.
Musée d’Orsay, Paris.
Faced with such a denial of self, Dalí understandably mutinied in an assertion of his own identity, while equally rebelling against the perfected image of the dead brother his parents attempted to impose upon him. Thus the painter later recounted that ‘Each day I looked for a new way of bringing my father to a paroxysm of rage or fear or humiliation and forcing him to consider me, his son, me Salvador, as an object of dislike and shame. I threw him off, I amazed him, I provoked him, defied him more and more.’ If Dalí’s later claims are to be taken seriously, among other things his rebelliousness involved him in deliberate bed-wetting, simulated convulsions, prolonged screaming, feigned muteness, jumping from heights, and acts of random aggressiveness such as flinging another little boy off a suspension bridge or kicking his younger sister in the head for no apparent reason. Supposedly Dalí also frequently overcompensated for the suppression of his identity by indulging in exhibitionist behaviour, as when he placed a dying, ant-covered bat in his mouth and bit it almost in half. There is probably only a very limited amount of truth in these assertions, but eventually both Dalí’s innate rebelliousness and exhibitionism would serve him in good stead artistically.
Dalí received his primary and secondary education in Figueres, first at a state school where he learned nothing, and then at a private school run by French Marist friars, where he gained a good working knowledge of spoken French and some helpful instruction in taking great artistic pains. The cypress trees visible from his classroom remained in his mind and later reappeared in many of his pictures, while Jean-François Millet’s painting The Angelus (above) that he saw in reproduction in the school also came back to haunt him in a very fruitful way. But the main educational input of these years clearly derived from Dalí’s home life, for his father was a relatively cultured man, with an interest in literature and music, a well-stocked library that Dalí worked through even before he was ten years old, and decidedly liberal opinions, being both an atheist and a Republican. This political nonconformism initially rubbed off on Dalí, who as a young man regarded himself as an Anarchist and who professed a lifelong contempt for bourgeois values.
Angelus, c. 1932.
Oil on wood, 16 × 21.7 cm.
Private collection, courtesy Galerie Natalie Seroussi, Paris.
More importantly, the young Dalí also received artistic stimulation from his father, who bought the boy several of the volumes in a popular series of artistic monographs. Dalí pored over the reproductions they contained, and those images helped form his long term attraction to nineteenth century academic art, with its pronounced realism; among the painters who particularly impressed him were Manuel Benedito y Vives, Eugène Carrière, Modesto Urgell and Mariano Fortuny, one of whose works, The Battle of Tetuan, would inspire Dalí to paint a companion picture in 1962. And Dalí also received artistic encouragement from a friend of his father’s, the Figueres lawyer Pepito Pichot whose brother, Ramon, was a fluent impressionist painter who lived in Paris and was known to Picasso. It may have been in the Pichot summer residence in an old mill-tower near Figueres that the young Dalí took his first steps as a painter, for when he was about nine years old he produced a still life of cherries on the back of an old, worm-eaten door, using merely vermilion and carmine for the fruits, and white for the highlights. (Dalí also later claimed that in this work he first blurred the dividing lines between differing realities, initially by gluing the stems of the real cherries to the bases of the painted ones, and
