Art Lovers..Part 2 discussion
Picture of the Day
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Artlovers Part 2 - Picture of the day - July 2021
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Dutch Interior 1915
16x20cm
oil/canvas
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Moonlit Night
1918
26x31cm
oil/canvas
Private collection
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But let me keep it a bit vague for a couple more days.
The next pic is from the same year, but instead of impressionism this one tends a bit more to expressionism.
Remember: the artist was only 14 years old!
Crepuscular Old Man
1918
50x30cm
oil/canvas
Ramon Pitxot Soler Collection, Barcelona
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I thought it interesting to show a bit more of his early work.
A young teenage boy, mastering painting skills and looking hard for his own style…
Still Life
1918
60x70cm
oil/canvas
Museo Nacional Reina Sofia, Madrid
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Still trying out different styles. It would take him 10 more years though to find his own.
Sea View
1919
21x28cm
oil/canvas
Barcelona, Collection Rafael Santos, Torroella
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Vilabertrin Church Tower
1919
41x32cm
oil/canvas
Private collection
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But the artist is still only 15 years old!
Self-Portrait in the Studio
1919
25x20cm
oil/canvas
The Salvador Dalí Museum, St. Petersburg, Florida
https://thedali.org/
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But time for some facts:
Born on 11 May 1904 in Figueres, Catalonia. A small city close to the border French border.
His father was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife who encouraged her son's artistic endeavors.
Our artist attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.
The Tartan 'El Son'
1919
24x19cm
oil/cardboard
Gala-Salvador Dali Foundation, Figueras, Spain
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Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquess of Dalí of Púbol, a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work.
https://en.wikipedia.org/wiki/Salvado...
The next pic I selected is from 1921, a sad year for Dalí, because a short time before his 17th birthday he lost his mother: “This was the greatest blow I had experienced in my life. I worshiped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."
The Voyeur
1921
32x50cm
cardboard/gouache
Gala-Salvador Dali Foundation, Figueras, Spain
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18 years old, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts). A lean 1.72 metres (5 ft 7+3⁄4 in) tall, Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century.
Cabaret Scene
1922
Oil on canvas
52 cm × 41 cm
rivate collection of Francois Petit, Paris
Cabaret Scene (1922) is a painting by the Spanish surrealist Salvador Dalí. It was a unique cubist experiment that came between Dalí's early impressionist work and the classic surrealist technique he later developed. Dalí was inspired by Pablo Picasso after he got expelled from the School of Fine Arts in Spain. His inspiration was shown in his paintings, such as this one.
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Before Dalí met Gala (Elena Ivanovna Diakonova), who would become his wife and muse, his favorite model was his sister Ana Maria.
In 2018 a movie came out about the life of Ana Maria, I have not seen it and it has a poor rating on IMDB, so I don’t know it its worth the trouble to look for it.
You can have a look at the trailer on IMDB:
https://www.imdb.com/title/tt6688832/
Ana Maria
1924
oil/canvas
Senora de Carles Collection, Barcelona
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In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts).
At the Residencia de Estudiantes , he became close friends with Pepín Bello, Luis Buñuel, Federico García Lorca, and others associated with the Madrid avant-garde group Ultra. The friendship with Lorca had a strong element of mutual passion, but Dalí said he rejected the poet's sexual advances. Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at the hands of Nationalist forces in 1936 at the beginning of the Spanish Civil War.
Plant
1924
98x98cm
oil/canvas
Gala-Salvador Dali Foundation, Figueras, Spain
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Dalí's paintings in which he experimented with Cubism earned him the most attention from his fellow students since there were no Cubist artists in Madrid at the time.
Still Life
1924
125x99cm
oil/canvas
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
https://www.museoreinasofia.es/en/col...
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Next up is one of my favourites by Dalí, I already posted this in 2019 for the “Guess Who” quiz
https://www.goodreads.com/topic/show/...
Figure at a window. Girl at a window
1925
102x75cm
oil/canvas
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
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In May 1925 Dalí exhibited eleven works in a group exhibition held by the newly formed Sociedad Ibérica de Artistas in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. Several leading critics praised Dalí's work.
Venus and Sailor
1925
198x149cm
oil on canvas on wood
Gala-Salvador Dali Foundation, Figueras, Spain
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In April 1926 Dalí made his first trip to Paris where he met Pablo Picasso, whom he revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who later introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró.
Figures Lying on the Sand
1926
20x27cm
oil/cardboard
Salvador Dali Museum, St. Petersburg, FL, USA
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Dalí left the Royal Academy in 1926, shortly before his final exams. His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926.
The Basket of Bread
1926
31x31cm
oil/cardboard
Salvador Dali Museum, St. Petersburg, FL, USA
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In 1923, Sigmund Freud’s Psychopathology of Everyday Life was published in Spanish, followed by the Interpretation of Dreams in 1924. By 1925, Dalí and his friends at the Residencia read them enthusiastically shortly after publication. So it is not surprising that by 1927, Dalí was beginning to employ Freud’s ideas in his work.
Apparatus and Hand
1927
62x47cm
oil/cardboard
Salvador Dali Museum, St. Petersburg, Florida, USA
This pre-Surrealist work foreshadows Dalí’s Surrealist style and is intended to provide the viewer with a spectacle beyond rational comprehension. Symbolic language is employed to record unconscious dream imagery; already Dalí is trying to demonstrate fidelity to his unconscious sources in accordance with Surrealist goals. This is Dalí’s first painting in which elements of Surrealism adorn the landscape. The overall monochromatic tone and illusion of depth further accentuate the dreamlike quality. Apparatus and Hand is reminiscent of the biomorphic shapes that Surrealist Yves Tanguy (1900-1955) created in his work, such as in Genesis, 1926. The triangular shape of the apparatus is repeated in the flight pattern of the birds. In contrast to the strange, otherworldly landscape and elements, the woman’s body is depicted with academic realism. The fish is a reference to the duality of male and female genitalia.
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From 1927 Dalí's work became increasingly influenced by Surrealism. Two of these works Honey is Sweeter than Blood (1927) and Gadget and Hand (1927) were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, Honey is Sweeter than Blood, as "equidistant between Cubism and Surrealism". The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among the public and debate among critics about whether Dalí had become a Surrealist.
Inaugural Gooseflesh
1928
75x62cm
oil/cardboard
Private Collection
This work, advance notice of Dalí’s great pictorial production in the thirties, is the one he showed to André Breton and the surrealist group. There is a certain resonance of Tanguy, both in the way of constructing the space and in the soft, white shapes that float on the oil painting. They are corpuscular forms in line with a hypnagogic vision, which combines the arithmetic rigidity of a numerical series, confronting, in this way, the dominant romanticism of his origins with the initial submission to a strict set of rules he learned in the magazine L’Esprit Nouveau by Ozenfant and Jeanneret (Le Corbusier). Dalí wanted to give a value to and number something indefinite.
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The Ram (The Spectral Cow)
1928
49x62cm
oil/canvas
The Salvador Dalí Museum, St. Petersburg, Florida
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In early August 1929, Paul Éluard and Elena Ivanovna Diakonova (Gala) visited a young Surrealist painter in Spain, the emerging Salvador Dalí. An affair quickly developed between Gala and Dalí, who was about 10 years younger than she. Nevertheless, even after the breakup of their marriage, Éluard and Gala continued to be close.
Accommodations of Desire
1929
22x35cm
oil/cardboard
Metropolitan Museum of Art, New York City
Painted in the summer of 1929, The Accommodations of Desire is a small gem that deals with Dalí's sexual anxieties over a love affair with an older, married woman. The woman, Gala, then the wife of the Surrealist poet Paul Éluard, became Dalí's life-long muse and mate. In this picture, which Dalí painted after taking a walk alone with Gala, he included seven enlarged pebbles on which he envisioned what lay ahead for him: "terrorizing" lions' heads (not so "accommodating" to his "desires" as the title of the painting facetiously suggests), as well as a toupee and a colony of ants (a symbol of decay). Also depicted are various vessels (one in the shape of a woman's head) and three figures embracing on a platform. Dalí did not paint the lion heads but, rather, cut them out from what must have been an illustrated children's book, slyly matching the latter's detailed style with his own. These collaged elements are virtually indistinguishable from the super-saturated color and painstaking realism of the rest of the composition, startling the viewer into questioning the existence of the phenomena recorded and of the representation as a whole.
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The Lugubrious Game (The Mournful Game or Dismal Sport)
1929
44x30cm
Oil and collage on cardboard
Private collection
By the late 1920S Dali had embraced Surrealism and was developing the 'paranoiac-critical method' with which he plundered his psyche for images and associations. The Lugubrious Game (also known as Dismal Sport) was painted at Cadaques in the summer of 1929, in preparation for Dali's first one-man exhibition in Paris.
Like several other works of the period, its subjects were masturbation, made overt by the statue's huge hand and Dali's sexual fears and fixations. Among the objects in the spiraling column on the right is an image of Dali himself, his mouth covered by a grasshopper, a creature of which he had an intense, irrational horror. Sexual and scatological images abound.
The Lugubrious Game became the centerpiece of Dali's extremely successful Parisian exhibition at the Goemans Gallery in November 1929. The painting was bought by his future patron, the Vicomte de Noailles, who hung it in his dining-room between works by Cranach and Watteau.
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The Enigma of My Desire or My Mother, My Mother, My Mother
1929
110x150cm
oil/canvas
Private collection
Dali considers The Enigma of Desire to be one of his ten most important paintings. The little group on the left depicts Dali himself embracing his father, with a fish, a grasshopper, a dagger, and a lion's head.
The Enigma of Desire was the first work sold by the Goemans Gallery during Dali's first one-man exhibition there in 1929. Just as he was painting this canvas, Dali found a religious chromolithograph on which he wrote: "Sometimes I spit with pleasure on my mother's portrait, had a quite psychoanalytical explanation, since one can perfectly well love one's mother and still dream that one spits upon her, and even more, in many religious, expectoration is a sign of veneration; now go and try to make people understand that!" In the baroque appendage that elongates the visage, we recognize the geological structures of the rocks of the region near Cape Creus eroded by the wind, mixed with the fantastic architecture of Antonio Gaudi, "That gothic Mediterranean," whose work Dali had seen as a child in Barcelona.
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1931 - 27 years old
For what is probably one of Dalí’s most famous paintings:
The Persistence of Memory (In Catalan: La persistència de la memòria) is a 1931 painting by artist Salvador Dalí and one of the most recognizable works of Surrealism. First shown at the Julien Levy Gallery in 1932, since 1934 the painting has been in the collection of the Museum of Modern Art (MoMA) in New York City, which received it from an anonymous donor. It is widely recognized and frequently referred to in popular culture, and sometimes referred to by more descriptive titles, such as "Melting Clocks", "The Soft Watches" or "The Melting Watches".
https://en.wikipedia.org/wiki/The_Per...
The Persistence of Memory
1931
Oil on canvas
24 x 33 cm
MoMA
https://www.moma.org/collection/works...
A short video about the painting by Khan Academy:
https://www.khanacademy.org/humanitie...
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The outbreak of World War II in September 1939 saw the Dalís in France. Following the German invasion, they were able to escape because on 20 June 1940 they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the Monterey Peninsula, California.
In 1946 Dalí worked with Walt Disney and animator John Hench on an unfinished animated film Destino.
Scene from the animated movie Destino.
Released: 19 December 2003
Directed by Dominique Monféry
Written by Salvador Dalí and Jon Hench
Destino (Spanish for "Destiny") was storyboarded by Disney studio artist John Hench and artist Salvador Dalí for eight months in late 1945 and 1946; however production ceased not long after. The Walt Disney Company, then Walt Disney Studios, was plagued by financial woes in the World War II era. Hench compiled a short animation test of about 17 seconds in the hopes of rekindling Disney's interest in the project, but the production was no longer deemed financially viable and put on indefinite hiatus.
In 1999, Walt Disney's nephew Roy E. Disney, while working on Fantasia 2000, unearthed the dormant project and decided to bring it back to life. Walt Disney Studios Paris, the company's small Parisian production department, was brought on board to complete the project. The short was produced by Baker Bloodworth and directed by French animator Dominique Monféry in his first directorial role. A team of approximately 25 animators deciphered Dalí and Hench's cryptic storyboards (with a little help from the journals of Dalí's wife Gala Dalí and guidance from Hench himself), and finished Destino's production. The end result is mostly traditional animation, including Hench's original footage, but it also contains some computer animation.
You can watch the full movie (6 minutes) on YouTube:
https://youtu.be/rMLVqQDeY58
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Dalí painted The Temptation of St. Anthony in 1946, in response to a contest held by the David L. Loew-Albert Lewin film production company for a painting of The Temptation of Saint Anthony, to be used in the film The Private Affairs of Bel Ami. This was the only art contest in which Dalí participated, and the painting chosen for the film was Max Ernst's version of the temptation.
https://en.wikipedia.org/wiki/The_Tem...
The Temptation of St. Anthony
1946
89x119cm
oil/canvas
Royal Museums of Fine Arts of Belgium
https://www.fine-arts-museum.be/en
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The Jesus Painting is a painting by Salvador Dalí made in 1951 which is in the collection of the Kelvingrove Art Gallery and Museum, Glasgow. It depicts Jesus Christ on the cross in a darkened sky floating over a body of water complete with a boat and fishermen. Although it is a depiction of the crucifixion, it is devoid of nails, blood, and a crown of thorns, because, according to Dalí, he was convinced by a dream that these features would mar his depiction of Christ. Also in a dream, the importance of depicting Christ in the extreme angle evident in the painting was revealed to him.
https://en.wikipedia.org/wiki/Christ_...
Christ of Saint John of the Cross
1951
205x116 cm
oil/canvas
Kelvingrove Art Gallery and Museum, Glasgow
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head). The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The circle represents Unity: all things do exist in the "three" but in the four, merry they be.
The painting and intellectual property rights were acquired for Glasgow Corporation in 1952 by Tom Honeyman, then the Director of Glasgow Museums. Honeyman bought the painting for £8,200, a price considered high at the time although it was less than the £12,000 catalogue price, and included the copyright, which has earned Glasgow Museums back the original cost many times over.
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https://en.wikipedia.org/wiki/Galatea...
Galatea of the Spheres
1952
Oil on canvas
65.0 x 54.0 cm
Dalí Theatre and Museum, Figueres, Spain
The painting depicts the bust of Gala composed of a matrix of spheres seemingly suspended in space. It represents a synthesis of Renaissance art and atomic theory and illustrates the ultimate discontinuity of matter, the spheres themselves representing atomic particles.
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Dalí espoused a mystical view of Catholicism and in his later years he claimed to be a Catholic and an agnostic. He was interested in the writings of the Jesuit priest and philosopher Teilhard de Chardin and his Omega Point theory.
https://en.wikipedia.org/wiki/Salvado...
Assumpta Canaveral
1956
oil/canvas
Private collection
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Dalí painted a lot of religious inspired works in this period but sometimes he went for a much simpler subject such as next still life.
The Vase of Cornflowers
1959
55x67cm
oil/canvas
Private collection
Mod
Already the end of the month, just one more pic to go.
Let’s make it a self-portrait combined with a portrait of his wife and muse Gala:
Dali from the Back Painting Gala from the Back Eternalized by Six Virtual Corneas Provisionally Reflected in Six Real Mirrors
1973
Oil on canvas
60 x 60 cm
Dalí Theatre and Museum, Figueres, Spain
In November 1988, Dalí entered the hospital with heart failure. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí. Dalí gave the king a drawing, Head of Europa, which would turn out to be Dalí's final drawing.
On the morning of 23 January 1989, while his favorite record of Tristan and Isolde played, Dalí died of heart failure at the age of 84. He is buried in the crypt below the stage of his Theatre-Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only 450 metres (1,480 ft) from the house where he was born.
If you want to see more Dalí, you can visit:
http://art-dali.com/
This is a copy of the original thread in the Art Lovers group.
We did this to have extra disk space to upload pictures to the group.
A new month a new theme, what it is I won’t reveal at first, so you can have a bit of a guessing game.
For inspiration I thought about last summer and decided to go for one artist for the whole month.
Not two months as I did with John Singer-Sargent.
https://www.goodreads.com/topic/show/...
Not because I did not find enough pics but I already had a good idea for August…
You are welcome to comment on the pictures posted, or on other people's comments, you can say whatever you want (keeping with the rules of the group of course).
The only rule to this thread is that the person running this thread can post a picture here.
So please don't post a picture in this thread. That's all!