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Dadaism
Dadaism was
an art movement of the European avant-garde in the
early 20th century. Many claim Dada began in Zurich, Switzerland in 1916, spreading to Berlin shortly thereafter but the height of New
York Dada was the year before in 1915.[1] To quote Dona Budd's The
Language of Art Knowledge,Dada was born out of negative reaction to the
horrors of World War I. This international movement was
begun by a group of artist and poets associated with the Cabaret Voltaire in Zurich.
Dada rejected reason and logic, prizing nonsense, irrationality and intuition.
The origin of the name Dada is unclear; some believe that it is a nonsensical
word. Others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use
of the words "da, da," meaning "yes, yes" in the Romanian language.
Another theory says that the name "Dada" came during a meeting of the
group when a paper knife stuck into a French-German dictionary happened to
point to 'dada', a French word for 'hobbyhorse'.[2]
The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of
the prevailing standards in art through anti-art cultural works. In addition to
being anti-war, Dada was also anti-bourgeois and had political affinities
with the radical left.
Dada activities included public gatherings,
demonstrations, and publication of art/literary journals; passionate coverage
of art, politics, and culture were topics often discussed in a variety of
media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch,Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, George Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, and Hans Richter, among others.
The movement influenced later styles like the avant-garde and downtown music movements,
and groups includingsurrealism, Nouveau réalisme, pop art and Fluxus.
Dada is the
groundwork to abstract art and sound poetry, a starting point for performance
art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later
embraced for anarcho-political uses in the 1960s and the movement that lay the
foundation for Surrealism.
Dada was an informal international movement,
with participants in Europe and North America. The beginnings of Dada
correspond to the outbreak of World War I. For many participants, the movement
was a protest against the bourgeois nationalist andcolonialist interests, which many Dadaists
believed were the root cause of the war, and against the cultural and
intellectual conformity—in art and more broadly in society—that corresponded to
the war.[4]
Many
Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war.
They expressed their rejection of that ideology in artistic expression that appeared
to reject logic and embrace chaos and irrationality. For example,George Grosz later
recalled that his Dadaist art was intended as a protest "against this
world of mutual destruction."[5]
As Hugo Ball expressed it, "For us, art
is not an end in itself ... but it is an opportunity for the true perception
and criticism of the times we live in."[6]
A
reviewer from the American Art News stated at the time that
"Dada philosophy is the sickest, most paralyzing and most destructive thing that
has ever originated from the brain of man." Art historians have described
Dada as being, in large part, a "reaction to what many of these artists
saw as nothing more than an insane spectacle of collective homicide."[7]
History-In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, and Hans Richter, along with
others, discussed art and put on performances in the Cabaret Voltaire expressing
their disgust with the war and the interests that inspired it.
Some
sources state that Dada coalesced on October 6 at the Cabaret Voltaire.
Other sources state that Dada did not originate fully in a Zurich literary
salon but grew out of an already vibrant artistic tradition in Eastern Europe,
particularly Romania, that transposed to Switzerland when a group of Jewishmodernist artists (Tzara, Marcel & Iuliu Iancu, Arthur Segal, and others)
settled in Zurich. In the years prior to World War I similar art had already
risen in Bucharest and other Eastern European cities; it is likely that DADA's
catalyst was the arrival in Zurich of artists like Tzara and Janco.[8]
Having
left Germany and Romania during World War I, the
artists found themselves in Switzerland, a country recognized for its
neutrality. Inside this space of political neutrality they decided to use
abstraction to fight against the social, political, and cultural ideas of that
time. The dadaists believed those ideas to be a byproduct of bourgeois society,
a society so apathetic it would rather fight a war against itself than challenge
the status quo.[9]
Marcel Janco recalled,
We
had lost confidence in our culture. Everything had to be demolished. We would
begin again after the tabula rasa. At the Cabaret Voltaire we began by
shocking common sense, public opinion, education, institutions, museums, good
taste, in short, the whole prevailing order.
The
Cabaret closed its doors in early July and then at the first public soiree at Waag Hall[10] on July
14, 1916, Ball recited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered
one of the most important Dada writings, which was published in 1918. Other
manifestos followed.
A
single issue of the magazine Cabaret Voltaire was the first
publication to come out of the movement.
After
the cabaret closed down, activities moved to a new gallery and Hugo Ball left for Bern. Tzara began a
relentless campaign to spread Dada ideas. He bombarded French and Italian
artists and writers with letters, and soon emerged as the Dada leader and
master strategist. The Cabaret Voltaire re-opened,
and is still in the same place at the Spiegelgasse 1 in the Niederdorf.
Zurich
Dada, with Tzara at the helm, published the art and literature review Dada beginning
in July 1917, with five editions from Zurich and the final two from Paris.
When
World War I ended in 1918, most of the Zurich Dadaists returned to their home
countries, and some began Dada activities in other cities. Others, such as
Swiss native Sophie Täuber, would remain in Zurich into the
1920s.
Berlin
"Berlin
was a city of tightened stomachers, of mounting, thundering hunger, where
hidden rage was transformed into a boundless money lust, and men’s minds were
concentrating more and more on questions of naked existence... Fear was in
everybody’s bones "- Richard Hülsenbeck
The
groups in Germany were not as strongly anti-art as other groups. Their activity
and art were more political and social, with
corrosive manifestos andpropaganda, satire, public demonstrations and overt
political activities. It has been suggested that this is at least partially due
to Berlin's proximity to the front, and that for an opposite effect, New York's
geographic distance from the war spawned its more theoretically-driven, less
political nature.[citation needed]
In
February 1918, Huelsenbeck gave his first Dada speech in Berlin, and produced a
Dada manifesto later in the year. Hannah Höch and George Groszused Dada to
express post-World War I communist sympathies. Grosz, together
with John Heartfield, developed the technique of photomontage during this
period. The artists published a series of short-lived political magazines, and held the First
International Dada Fair, 'the greatest project yet conceived by the Berlin
Dadaists', in the summer of 1920.[11] As well as work by the main
members of Berlin Dada – Grosz, Raoul Hausmann, Hannah Höch,Johannes Baader, Huelsenbeck and Heartfield – the
exhibition also included the work of Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others.[11] In all, over 200 works were
exhibited, surrounded by incendiary slogans, some of which also ended up
written on the walls of the Nazi's Entartete Kunst exhibition in 1937. Despite high
ticket prices, the exhibition lost money, with only one recorded sale.[12]
New York
Like
Zurich, New York City was a refuge for writers and
artists from World War I. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met
American artist Man Ray. By 1916 the three of them became the
center of radical anti-art activities in the United States. American Beatrice Wood, who had been
studying in France, soon joined them, along with Elsa von
Freytag-Loringhoven. Arthur Cravan, fleeing conscription in France, was
also present for a time. Much of their activity centered in Alfred Stieglitz's gallery, 291,
and the home of Walter and Louise
Arensberg.
The
New Yorkers, though not particularly organized, called their activities Dada, but
they did not issue manifestos. They issued challenges to art and culture
through publications such as The Blind Man, Rongwrong, and New
York Dada in which they criticized the traditionalist basis for museum art.
New York Dada lacked the disillusionment of European Dada and was instead
driven by a sense of irony and humor. In his book Adventures in the
arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an
essay on "The Importance of Being 'Dada'".
Paris
Paris
had arguably been the classical music capital of the world since the advent of
musical Impressionism in the late 19th century. One of its practitioners, Erik Satie, collaborated with Picassoand Cocteau in a mad,
scandalous ballet called Parade. First performed by the Ballets Russes in 1917, it
succeeded in creating a scandal but in a different way than Stravinsky's Le Sacre du
Printemps had done almost five years earlier. This
was a ballet that was clearly parodying itself, something traditional ballet
patrons would obviously have serious issues with.
Dada
in Paris surged in 1920 when many of the originators converged there. Inspired
by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged
performances and produced a number of journals (the final two editions of Dada, Le
Cannibale, and Littérature featured Dada in several
editions.)[17]
The
first introduction of Dada artwork to the Parisian public was at the Salon des
Indépendants in 1921. Jean Crotti exhibited works associated with
Dada including a work entitled, Explicatifbearing the word Tabu.
In the same year Tzara staged his Dadaist play The Gas Heart to howls of derision from the
audience. When it was re-staged in 1923 in a more professional production, the
play provoked a theatre riot (initiated by André Breton) that heralded
the split within the movement that was to produce Surrealism. Tzara's last attempt at a Dadaist
drama was his "ironic tragedy"Handkerchief of
Clouds in 1924.
Netherlands
In
the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for
establishing the De Stijl movement and magazine of the
same name. Van Doesburg mainly focused on poetry, and included poems from many
well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg
became a friend of Schwitters, and together they organized the so-called Dutch
Dada campaign in 1923, where Van Doesburg promoted a leaflet about
Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszàrdemonstrated a
mechanical dancing doll and Nelly Van Doesburg (Theo's wife), played avant-garde compositions
on piano.
Italy
The
Dada movement in Italy, based in Mantova, was met with distaste and failed to
make a significant impact in the art world. They published a magazine for a
short time and held an exhibit inRome, featuring paintings, Tristan Tzara quotes,
and original epigrams such as "True Dada is against Dada". The most
notable member of this group was Julius Evola, who went on to become a preeminent
occult scholar of the 20th century, as well as a right-wing philosopher and
aide to Mussolini.[19]
Tokyo
A
prominent Dada group in Japan was MAVO (JA), founded in July 1923 by Tomoyoshi Murayama and Masamu Yanase (DE, JA). Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki,Shinkichi Takahashi (JA) and Katsue Kitasono.
Russia[edit]
The
Russian literary group Nichevoki came close to the Dada ideologies. They became
famous for proposing Vladimir Mayakovsky to go to the "Pampushka"
(abbreviation for "pamyatnik pushkina", which means "Pushkin
monument") at the "Tverbul" (abbreviation for "tverskoj
bulvar", which means "Tverskoy Boulevard") and clean any
desiring person's shoes, when he declared that he would "clean Russian
poetry".
Salvador Dalí
By- Thakur Dhirendranath
Pubol (May 11, 1904 – January 23,
1989), known as Salvador Dalí Dalí was a skilled draftsman, best known for the striking and bizarre
images in his surrealist work. His painterly skills are often attributed to the
influence of Renaissance masters.[1][2] His best-known work, The
Persistence of Memory, was completed in August 1931. Dalí's expansive artistic
repertoire included film, sculpture, and photography, in collaboration with a
range of artists in a variety of media.Dalí attributed his "love of
everything that is gilded and excessive, my passion for luxury and my love of
oriental clothes"[3] to an "Arab lineage",
claiming that his ancestors were descended from the Moors.Dalí
was highly imaginative, and also enjoyed indulging in unusual and grandiose
behavior. His eccentric manner and attention-grabbing public actions sometimes
drew more attention than his artwork, to the dismay of those who held his work
in high esteem, and to the irritation of his critics.[4]
Early life
The
Dalí family in 1910: from the upper left, aunt Maria Teresa, mother, father,
Salvador Dalí, aunt Catherine (later became second wife of father), sister Ana
Maria and grandmother Ana
Salvador Domingo Felipe Jacinto Dalí i
Domènech was born on May 11, 1904, at 8:45 am GMT[5] in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.[6] Dalí's older brother, also named Salvador (born October 12, 1901), had died of gastroenteritis nine months earlier, on August 1,
1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary[7] whose strict disciplinary approach was
tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic
endeavors.[8] When he was five, Dalí was taken to
his brother's grave and told by his parents that he was his brother's
reincarnation,[9] a concept which he came to believe.[10] Of his brother, Dalí said,
"...[we] resembled each other like two drops of water, but we had
different reflections."[11] He "was probably a first version
of myself but conceived too much in the absolute."[11]Images of his long-dead brother would reappear
embedded in his later works, including Portrait
of My Dead Brother (1963).
Dalí attended drawing school. In 1916, Dalí 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.[7] The next year, Dalí's father organized
an exhibition of his charcoal drawings in their family home. He had his first
public exhibition at the Municipal Theater in Figueres in 1919.
In February 1921, Dalí's mother died of breast cancer. Dalí was 16 years old; he later said
his mother's death "was the greatest blow I had experienced in my life. I
worshipped 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."[13] After her death, Dalí's father married
his deceased wife's sister. Dalí did not resent this marriage, because he had a
great love and respect for his aunt.[7]
Madrid and Paris
In 1922, Dalí moved into the Residencia
de Estudiantes (Students' Residence) in Madrid[7] and studied at the Real Academia de Bellas Artes de San Fernando. A lean 1.72 m (5 ft. 7¾ in.)
tall,[14] 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.
At the Residencia, he became close friends
with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca. The friendship with Lorca had a
strong element of mutual passion,[15] but Dalí rejected the poet's sexual
advances.[16]
However it was his paintings, in which he
experimented with Cubism, that earned him the most attention from his
fellow students. His only information on Cubist art came from magazine articles
and a catalog given to him by Pichot, since there were no Cubist artists in
Madrid at the time. In 1924, the still-unknown Salvador Dalí illustrated a book
for the first time. It was a publication of the Catalan poem Les
bruixes de Llers ("The Witches of Llers") by
his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada,
which influenced his work throughout his life.
Dalí was expelled from the Academia in 1926,
shortly before his final exams when he was accused of starting an unrest.[17] His mastery of painting skills was
evidenced by his realistic The Basket of Bread, painted in 1926.[18] That same year, he made his first
visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso
had already heard favorable reports about Dalí from Joan Miró. As he developed his own style over the next
few years, Dalí made a number of works heavily influenced by Picasso and Miró.
Some trends in Dalí's work that would continue
throughout his life were already evident in the 1920s. Dalí devoured influences
from many styles of art, ranging from the most academically classic, to the
most cutting-edge avant garde.[19] His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer, and Velázquez.[20] He used both classical and modernist
techniques, sometimes in separate works, and sometimes combined. Exhibitions of
his works in Barcelona attracted much attention along with
mixtures of praise and puzzled debate from critics.
Dalí grew a flamboyant moustache, influenced by 17th-century Spanish master
painter Diego Velázquez. The moustache became an iconic
trademark of his appearance for the rest of his life.
1929 to World War II
In 1929, Dalí collaborated with surrealist
film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog). His main
contribution was to help Buñuel write the script for the film. Dalí later
claimed to have also played a significant role in the filming of the project,
but this is not substantiated by contemporary accounts.[21] Also, in August 1929, Dalí met his
lifelong and primary muse, inspiration, and future wife Gala,[22] born Elena Ivanovna Diakonova. She was
a Russian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important
professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already
been heavily influenced by surrealism for two years. The Surrealists hailed
what Dalí called his paranoiac-critical
method of accessing the subconscious for greater artistic creativity.[7][8]
Meanwhile, Dalí's relationship with his father
was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his
son's romance with Gala, and saw his connection to the Surrealists as a bad
influence on his morals. The final straw was when Don Salvador read in a
Barcelona newspaper that his son had recently exhibited in Paris a drawing of
the Sacred Heart of Jesus
Christ, with a provocative inscription: "Sometimes, I spit for fun on
my mother's portrait".[23]
Outraged, Don Salvador demanded that his son
recant publicly. Dalí refused, perhaps out of fear of expulsion from the
Surrealist group, and was violently thrown out of his paternal home on December
28, 1929. His father told him that he would be disinherited, and that he should never set foot in
Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's
cabin in a nearby bay at Port Lligat. He bought the place, and over the
years enlarged it, gradually building his much beloved villa by the sea. Dalí's father would eventually
relent and come to accept his son's companion.[24]
In 1931, Dalí painted one of his most famous works, The
Persistence of Memory,[25] which introduced a surrealistic image
of soft, melting pocket watches. The general interpretation of the
work is that the soft watches are a rejection of the assumption that time is rigid
or deterministic. This idea is supported by other
images in the work, such as the wide expanding landscape, and other limp
watches shown being devoured by ants.[26]
Dalí and Gala, having lived together since
1929, were married in 1934 in a semi-secret civil ceremony. They later
remarried in a Catholic ceremony in 1958.[27] In addition to inspiring many artworks
throughout her life, Gala would act as Dalí's business manager, supporting their extravagant
lifestyle while adeptly steering clear of insolvency. Gala seemed to tolerate
Dalí's dalliances with younger muses, secure in her own position as his primary
relationship. Dalí continued to paint her as they both aged, producing
sympathetic and adoring images of his muse. The "tense, complex and
ambiguous relationship" lasting over 50 years would later become the
subject of an opera Jo, Dalí (I, Dalí) by Catalan composer Xavier
Benguerel.[28]
Dalí was introduced to the United States by
art dealer Julien Levy in 1934. The exhibition in New York of
Dalí's works, including Persistence
of Memory, created an immediate sensation. Social Register listees feted him at a specially
organized "Dalí Ball". He showed up wearing a glass case on his
chest, which contained a brassiere.[29] In that year, Dalí and Gala also
attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as
the Lindbergh baby and his kidnapper. The resulting uproar in the press was so
great that Dalí apologized. When he returned to Paris, the Surrealists
confronted him about his apology for a surrealist act.[30]
While the majority of the Surrealist artists
had become increasingly associated with leftist politics, Dalí maintained an ambiguous
position on the subject of the proper relationship between politics and art.
Leading surrealist André Breton accused Dalí of defending the
"new" and "irrational" in "the Hitler
phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian
neither in fact nor intention".[31] Dalí insisted that surrealism could
exist in an apolitical context and refused to explicitly denounce fascism.[citation needed] Among other factors, this had landed
him in trouble with his colleagues. Later in 1934, Dalí was subjected to a
"trial", in which he was formally expelled from the Surrealist group.[22] To this, Dalí retorted, "I myself
am surrealism".[17]
In 1936, Dalí took part in the London
International Surrealist Exhibition. His lecture, titled Fantômes paranoiaques
authentiques, was
delivered while wearing a deep-sea diving suit and helmet.[32]He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed
as he gasped for breath. He commented that "I just wanted to show that I
was 'plunging deeply' into the human mind."[33]
Also in 1936,
at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York
City, Dalí became famous for another incident. Levy's program of short
surrealist films was timed to take place at the same time as the first
surrealism exhibition at the Museum of Modern Art, featuring Dalí's work. Dalí was in
the audience at the screening, but halfway through the film, he knocked over
the projector in a rage. "My idea for a film is exactly that, and I was
going to propose it to someone who would pay to have it made," he said.
"I never wrote it down or told anyone, but it is as if he had stolen
it". Other versions of Dalí's accusation tend to the more poetic: "He
stole it from my subconscious!" or even "He stole my dreams!"[34]
In this period, Dalí's main patron in London
was the very wealthy Edward James. He had helped Dalí emerge into the
art world by purchasing many works and by supporting him financially for two
years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.[citation needed]
In 1938,
Dalí met Sigmund Freud thanks to Stefan Zweig. Later, in September 1938, Salvador
Dalí was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings
he later exhibited at Julien Levy Gallery in New York.[35][36] At the end of the 20th century,
"La Pausa" was partially replicated at the Dallas Museum of Art to welcome the Reeves collection and
part of Chanel's original furniture for the house.[37]
At the 1939 New
York World's Fair,
Dalí debuted his Dream
of Venus surrealist pavilion, located in the Amusements
Area of the exposition. It featured bizarre sculptures, statues, and live nude
models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman. Like most attractions in the
Amusements Area, an admission fee was charged.[41]
World War II
In 1940, as World War II tore through Europe,
Dalí and Gala retreated to the United States, where they lived for eight years.
They were able to escape because on June 20, 1940, they were issued visas by Aristides
de Sousa Mendes,
Portuguese consul in Bordeaux, France. Dalí’s arrival in New York was one of
the catalysts in the development of that city as a world art center in the
post-War years.[43] Salvador and Gala Dalí crossed into
Portugal and subsequently sailed on the Excambion from Lisbon to New York in
August 1940. After the move, Dalí returned to the practice ofCatholicism. "During this period, Dalí never
stopped writing", wrote Robert and Nicolas Descharnes.[44]
In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published
his autobiography, The
Secret Life of Salvador Dalí. He wrote catalogs for his exhibitions, such
as that at the Knoedler Gallery in New York in 1943. Therein he attacked some
often-used surrealist techniques by proclaiming, "Surrealism will at least
have served to give experimental proof that total sterility and attempts at
automatizations have gone too far and have led to a totalitarian system. ...
Today's laziness and the total lack of technique have reached their paroxysm in
the psychological signification of the current use of the college" (collage). He also wrote a novel, published in 1944, about
a fashion salon for automobiles. This resulted in a drawing by Edwin Cox inThe Miami Herald, depicting Dalí dressing an
automobile in an evening gown.[44]
Dalí in 1972
From 1949 onwards, Dalí spent his remaining
years back in Spain. His acceptance and embracing of Franco's dictatorship were strongly disapproved of by other
Spanish artists and intellectuals who stayed in exile. In 1959, André Breton organized an exhibit called Homage to Surrealism,
celebrating the fortieth anniversary of Surrealism, which contained works by
Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the
inclusion of Dalí's Sistine
Madonna in the International
Surrealism Exhibition in New York the following year.[47]
Late in his career, Dalí did not confine
himself to painting, but experimented with many unusual or novel media and
processes: he made bulletistworks.[48] Many of his works incorporated optical illusions, negative space, visual puns, and trompe l'oeil visual effects. He also experimented
withpointillism, enlarged half-tone dot grids (which Roy Lichtenstein would later use), and stereoscopic images.[49] He was among the first artists to
employholography in an artistic manner.[50] In his later years, young artists such
as Andy Warhol proclaimed Dalí an important influence
on pop art.[51]
Dalí's post–World War II period bore the hallmarks
of technical virtuosity and an intensifying interest in optical effects,
science, and religion. He became an increasingly devout Catholic, while at the
same time he had been inspired by the shock of Hiroshima and the dawning of the "atomic age". Therefore Dalí labeled this period
"Nuclear Mysticism." In paintings such as The
Madonna of Port Lligat (first version) (1949) and Corpus Hypercubus (1954), Dalí sought to synthesize Christian iconography with images of material disintegration
inspired by nuclear physics.[54] His Nuclear Mysticism works included
such notable pieces as La Gare de Perpignan (1965) and The
Hallucinogenic Toreador (1968–70). In 1960, Dalí began work on his
Teatro Museo (Dalí Theatre and Museum) in his home town of Figueres; it was his largest single project and the
main focus of his energy through 1974. He continued to make additions through
the mid-1980s.[citation needed]
In 1968, Dalí filmed a humorous television
advertisement for Lanvin chocolates.[55] In this, he proclaims in French
"Je suis fou du chocolat Lanvin!" ('I'm crazy about Lanvin
chocolate') while biting a morsel causing him to become crosseyed and his
moustache to swivel upwards. In 1969, he designed the Chupa Chups logo in addition to facilitating the
design of the advertising campaign for the1969
Eurovision Song Contest and creating a large on-stage metal sculpture
that stood at the Teatro
Real in Madrid.
List
of works by Salvador Dalí
Dalí produced over 1,500 paintings in his
career[103] in addition to producing illustrations
for books, lithographs, designs for theatre sets and costumes, a great number
of drawings, dozens of sculptures, and various other projects, including an
animated short film for Disney. He also collaborated with director
Jack Bond in 1965, creating a movie titled Dalí
in New York. Below is a chronological sample of important and
representative work, as well as some notes on what Dalí did in particular
years.[2]
In Carlos Lozano's
biography, Sex, Surrealism,
Dalí, and Me, produced with the collaboration of Clifford Thurlow, Lozano makes it
clear that Dalí never stopped being a surrealist. As Dalí said of himself:
"the only difference between me and the surrealists is that I am a
surrealist."[42]
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