Surrealism

Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.
Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement.
Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

Max Ernst, The Elephant Celebes (1921), Tate, London

Guggenheim Dali Liquid Desires

Birth of Liquid Desires (La Naissance des désirs liquides), 1931–32. Oil and collage on canvas, 37 7/8 × 44 1/4 inches (96.1 × 112.3 cm). The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice 76.2553.100 © 2013 Salvador Dalí, Gala-Salvador Dalí Foundation/Artists Rights Society (ARS), New York

By the time Salvador Dalí joined the Surrealist group in 1929, he had formulated his “paranoid-critical” approach to art, which consisted in conveying his deepest psychological conflicts to the viewer in the hopes of eliciting an empathetic response. He embodied this theoretical approach in a fastidiously detailed painting style. One of his hallucinatory obsessions was the legend of William Tell, which represented for him the archetypal theme of paternal assault.¹ The subject occurs frequently in his paintings from 1929, when he entered into a liaison with Gala Eluard, his future wife, against his father’s wishes. Dalí felt an acute sense of rejection during the early 1930s because of his father’s attitude toward him.

Here father, son, and perhaps mother seem to be fused in the grotesque dream-image of the hermaphroditic creature at center. William Tell’s apple is replaced by a loaf of bread, with attendant castration symbolism. (Elsewhere Dalí uses a lamb chop to suggest his father’s cannibalistic impulses.) Out of the bread arises a lugubrious cloud vision inspired by the imagery of Arnold Böcklin. In one of the recesses of this cloud is an enigmatic inscription in French: “Consigne: gâcher l’ardoise totale?”

Reference to the remote past seems to be made in the two forlorn figures shown in the distant left background, which may convey Dalí’s memory of the fond communion of father and child. The infinite expanse of landscape recalls Yves Tanguy’s work of the 1920s. The biomorphic structure dominating the composition suggests at once a violin, the weathered rock formations of Port Lligat on the eastern coast of Spain, the architecture of the Catalan visionary Antoni Gaudí, the sculpture of Jean Arp, a prehistoric monster, and an artist’s palette. The form has an antecedent in Dalí’s own work in the gigantic vision of his mother in The Enigma of Desire of 1929. The repressed, guilty desire of the central figure is indicated by its attitude of both protestation and arousal toward the forbidden flower-headed woman (presumably Gala). The shadow darkening the scene is cast by an object outside the picture and may represent the father’s threatening presence, or a more general prescience of doom, the advance of age, or the extinction of life.

Lucy Flint

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Salvador Dali Viet Nam prints

Angel of Mercy Covering a Calmer World

23" x 16" on V Piera Paper

*Hand signed by Salvador Dali in 1973 in front of witnesses.

*The publisher filmed an interview with the creator of the Dali Museum in Fla., Reynolds Morse.

*The cancelled printing plates are the property of the publisher.

*The bon à tirer prints or Artists Proofs can be seen at the Dali Museum when they are on display.

The Vietnam War was a Cold War-era military conflict that occurred in Vietnam,

Laos, and Cambodia from 1 November 1955 to the fall of Saigon on 30 April 1975.

During the most publicized part of the Viet Nam War,

Salvador Dali was living in New York at the St. Regis Hotel and meeting with the

public on a regular basis.

The Viet Nam war protests and constant news stories shaped the culture of that day

and sparked unrest and chaos among the young people of the United States.

While most people might refer to the destructive nature of weapons,

Dali referred to the Aomic Bomb as "excited particles".

The extensive study of science as a youth gave Dali a unique perspective on things

having to do with energy or decay as a few examples.

The Angel in the image is similar to the iconic Angel we see

in many of Dali's better known graphics.

The Angel of Mercy is referred to in various religeons,

known for healing and compassion. So during a time of great conflict

and destruction, Dali created a series of works having to do with Peace in Viet Nam.

We have only one of these available.

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