Dali, Salvador, Fantastic Beach Scene
Salvador Dali, Etching, Fantastic Beach Scene
|Artist:||Dali, Salvador (1904 - 1989)|
|Title:||Fantastic Beach Scene|
|Image Size:||9.4 in x 11.8 in (24 x 30 cm)|
|Sheet Size:||15.5 in x 18.8 in (39.4 cm x 47.8 cm)|
|Framed Size:||27 1/4 in x 29 in (69.2 x 75.9 cm)|
|Edition:||This work is an early artist proof from the unpublished edition. Only a few impressions were ever printed from the plate, and we estimate that less than 4 or 5 exist|
|Condition:||This work is in excellent condition.|
|Gallery Price: |
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Using a multitude of varied images, Dali(Figueras, 1904- Figueras,1989) creates a work that has a cacophonic quality. The eye is stimulated by the seemingly disassociated images which appear to function in a narrative fashion. The continual question is what is the intended narrative?
Created in 1935, this work is one in a small edition of prints printed in sepia. The work is printed on chine colle which is affixed to a heavy hand laid paper. The print is in pristine condition displaying a delicacy in line and shading.
This work, with its disassociated images of a rocking chair dismembered arms and tenuous clothes line, was created using the artist own theory of paranoiac-critical method. The artist explains the method as follows, “I believe that the moment is near when, through a process of thought of a paranoiac and active character, it will be possible (simultaneously with automatism and other passive states) to systematize confusion and contribute to the total discrediting of the world of reality” (Ades, 121) . Thus this work can be read as a stream of consciousness representation of the artist’s paranoiac thoughts that converge on the page creating a world composed of familiar images which refuse to engage in an intelligible interpretation. This denial of interpretation forces the viewer to engage in their own paranoiac thoughts prompted by their inability to define the image in realistic terms.
RECENT AUCTION REALIZATIONS:
Galerie Gerda Bassenge: Saturday, November 30, 1996 [Lot 6333] $19,679
Catalogue Raisonné & COA:
1) Michler Ralf, and Lutz Löpsinger, Dali Catalogue Raisonné of Etchings and Mixed-Media Prints 1925-1980, Prestel-Verlag, Munich, 1994. Listed on page135 as plate 57.
About the Framing:
|Style:||Surrealism, 20th Century Master|
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Biography of Salvador Dali
Spanish painter; born in Figueras, Catalonia, where he died in 1989. Trained at Madrid's school of fine arts, he was drawn simultaneously to Academicism, Impressionism, Futurism, and Cubism; after reading Freud, his passions turned to dreams and the unconscious. In 1928, he met Pablo Picasso and Breton and joined the Surrealists. He also met Gala Eluard, who became his companion and muse. In 1929, he began formulating the "paranoid-critical" method, which would provide the foundations for most of his paintings; Construction molle avec haricots bouillis; premonition de la guerre (soft construction with boiled beans; premonition of civil war),1936; Girafes en feu (burning giraffes), 1936-1937. After a stay in the United States from 1940 to 1948, where his influence was felt on fashion, advertising, and ballet sets, he went back to Spain to undergo a religious crisis; Le Christ de Saint-Jean-de-la-Croix, 1951, and returned to the baroque traditions and landscapes of his youth, in harmony with his temperament. His rich and complex personality was revealed through his writings; The Secret Life of Salvador Dali, 1941; Journal of a Genius, 1954. Two enormous retrospectives have been done on him, in the Boymans Van Beuningen Museum of Rotterdam (1970-1971), and at the Georges Pompidou Center in Paris (1979-1980). In 1974 he created his own museum in Figureras. Another museum, in Cleveland, houses the Reynold Morse Collection. He was elected to the Beaux-Arts Academy of Paris in 1979.
"It soon became apparent, however, that there was an inherent contradiction in Dalí's approach between what he himself described as 'critical paranoia' - which lent itself to systematic interpretation - and the element of automatism upon which his method depended. Breton soon had misgivings about Dalí's monsters which only lend themselves to a limited, univocal reading. Dalí's extreme statements on political matters, in particular his fascination for Hitler, struck a false note in the context of the Surrealist ethic and his relations with the rest of the group became increasingly strained after 1934. The break finally came when the painter declared his support for Franco in 1939. And yet he could boast that he had the backing of Freud himself, who declared in 1938 that Dalí was the only interesting case in a movement whose aims he confessed not to understand. Moreover, in the eyes of the public he was, increasingly as time went by, the Surrealist par excellence, and he did his utmost to maintain, by way of excessive exhibitionism in every area, this enviable reputation.
"In 1936, Dalí returned to a classical manner of painting, switching haphazardly between Italian, Spanish and pompier styles. From 1939 to 1948, he lived in the United States, cultivating his persona as a genial eccentric, and earning from Breton the nickname Avida Dollars (an anagram of his name) in 1940. In Spain once more (at Port Lligat), he provided a constant source of interest for the gossip columns, which described the parties he threw, his carefully orchestrated 'eccentricity' and all the pomp and ceremony of his church wedding in 1958 to Gala (Éluard's first wife), whom he had first met in 1929 and who was to remain the only woman in his life, his muse, his model and his most effective agent.