Salvador Dalí - Opera Gallery · 5 — ‘Each morning when I awake, I experience again a supreme...

Salv

ador

Dal

íSe

ptem

ber 2

015

operagallery.com

18 September - 18 October 2015

2 Orchard Turn # 04-15 ION Orchard 238801 SingaporeT. + 65 6735 2618 - [email protected]

Opening Hours Weekdays: 11 am - 8 pm • Weekends: 10 am - 8 pm ©

Cov

er a

nd fi

rst p

age:

IAR

2015 marks the 50th Anniversary of Singapore’s Independence, and such a substantial milestone

calls for an exhibition of equal merit. It is with this in mind that we are proud to showcase one of

the most illustrious names in 20th century art: Salvador Dalí.

Dalí developed his own symbolic narrative that is prevalent throughout his works; manifested

beautifully in his sculptural works. Exquisite examples of these will be on exhibition along the

esteemed Orchard Road, where monumental and museum sized works will be in situ for a full

month, transporting viewers from reality to otherworldly destinations, inviting them to bear witness

to transcendental creatures, anthropomorphic figures and warped timepieces, that truly exemplify

Dalí’s vivid imaginings. Celebrated globally, Dalí was a pioneer in his field and spawned a legacy that

still burns bright more than a quarter of a century after his death.

We are pleased to present to you these prestigious works by this most captivating artist.

Stéphane Le PelletierDirector

Opera Gallery Asia Pacific

Gilles DyanFounder and ChairmanOpera Gallery Group

Preface

3

5

— ‘Each morning when I awake, I experience again a supreme pleasure – that of being Salvador Dalí.’

— Salvador Dalí began his life on May 11, 1904, the second-born son of Salvador Dalí Cusí, a

powerful notary, and Felipa Domènech Ferrés, a kind and doting art teacher. His older brother, also

named Salvador Dalí, had died in infancy only nine months before. His brother’s death had a deep

psychological impact on the artist, who throughout his life believed himself to be a reincarnation

of the first-born Salvador.

— ‘None of the professors in the school being competent to judge me, I retire.’ In 1926, Dalí was

expelled from the San Fernando Academy of Art in Madrid for refusing to sit for his oral exams in art

history on the premise that he was more intelligent than any of his professors. Producing the brilliant

painting Basket of Bread that same year proved Dalí’s technical mastery, and the precocious artist

moved to Paris shortly after leaving school. Upon arrival he phoned up Pablo Picasso, his idol, saying

‘I have come to see you before visiting the Louvre’, to which Picasso replied, ‘You are quite right.’

— ‘ Picasso loved me a lot. Despite his Communist ideas, Picasso is a genius, and so am I.’

— In April of 1929, Dalí met and immediately fell in love with Elena Ivanovna Diakonova, known

by her nickname Gala, who was married at the time to his friend and poet Paul Éluard. The two

shared an instant connection. From that moment on, Gala became Dalí’s muse, partner and business

manager, holding a mysterious power over the artist until her death, six years before his, in 1982.

— A voracious reader of Sigmund Freud, Dalí was naturally drawn to the artists of the Surrealist

movement who found artistic inspiration in theories of psychoanalysis and paranoia. Though sharing

The Legacy of Salvador DalíAnecdotes from the 20th century’s most illustrious, provocative and idiosyncratic self-proclaimed genius.

6

— ‘Painting is an infinitely minute part of my personality.’ Dalí’s entire being was a work of art –

his speech, his appearance, his behaviour - planned, curated and executed to a perfection of the

outrageous. A performance piece that lasted from the moment of his birth to that of his death,

Dalí’s life incorporated painting, psychoanalysis, mathematics, debauchery, self-obsession and an

open declaration of sympathy for all who lacked the privilege of being him.

— Dalí’s idiosyncratic talent is as fascinating now as it was in his lifetime, and his legacy as a figure

and artist live on well past his death. While his antics run risk of eclipsing his art, his brilliant

manipulation of images and inventive, unguarded persona have become seeds for generations of

inspiration and interpretation of modern art. Reflections on anachronisms, interactions between

psyche and medium, evocation of traditional mastery with contemporary analysis – notions that

are seminal in the inspiration of an entire generation of artists, no less Andy Warhol and Jeff Koons

than David Bowie and Lady Gaga.

— ‘Let my enemies devour each other.’

visual interests with the group, Dalí’s involvement with the Surrealists, especially its founder and

leader André Breton, became increasingly strained in the 1930s due to his persistent self-promotion

and unwillingness to conform to the Surrealist agenda. By 1939, Dalí’s greed and celebrity status

had ruptured his relationship to the group, marking an end of all of his affiliations with artistic

groups and movements.

— André Breton coined the nickname ‘Avida Dollars’, an anagram of Dalí’s name, to poke fun at the

artist’s insatiable greed. Dalí employed his considerable talents to supplement his unabashed love

for money, appearing in advertisements, creating logos and even doodling on uncashed checks at

restaurants, assuming that no one in their right mind would cash a check with an original Dalí sketch

on the back of it.

— ‘Liking money like I like it is nothing less than mysticism. Money is glory.’

— ‘Compared to Velázquez, I am nothing. But compared to contemporary painters, I am the biggest

genius of modern time’. Dalí’s early work drew from various classical influences including Raphael,

Bronzino, Vermeer and Velázquez, whom he particularly admired. Velázquez’s influence can be seen

in some of Dalí’s most astounding works, such as his 1938 The Image Disappears which incorporates

elements that Dalí expounded on in his 1948 treatise Fifty Magic Secrets of Painting, in which he ranks

the masters based on criteria of technique, composition, originality, inspiration and mysteriousness.

— Dalí’s home in Portlligat was decorated by a number of portraits of people with moustaches,

including a portrait of Velázquez. Dalí used to claim that he collected moustaches belonging to

famous people, often choosing them as much for their characters as for their art.

7

L’Œil fleuri, 1944Oil and tempera on joined canvas176.5 x 392.4 cm - 69.5 x 154.5 in.

Price on request

ProvenanceMarquis de Cuevas (acquired from the artist, 1944)Mrs. Margaret Rockefeller de Cuevas (acquired by descent from the above)Raymundo Larrain, Santiago (acquired by descent from the above, 1976)Private collection (acquired by descent from the above)

CertificateRobert P., Nicolas R. & Olivier M. Descharnes have confirmed the authenticity of this workThis work is registered in the Archives Descharnes under the reference No. h1070

The oil-on-canvas L’Œil Fleuri was developed into a set design for the 1944 ballet production Tristan Fou (Mad Tristan). While he was primarily known as a painter, Dalí worked across a wide span of media including jewellery, film, sculpture and experimental stage design. Dalí was extensively involved in ballet and theatre, first designing for shows as early as 1927 and frequently entering these collaborations throughout his career. For Dalí, theatre productions provided an environment in which to explore a personal interest in the architectural elements undergirding painting. Haunting and intense, the eyes of L’Œil Fleuri draw attention to Dalí’s obsession with perception and attempts to produce a symbolic language capable of communicating his inner life.

8

Don Chisciotte, Evocazione di Dulcinea... rinunzio ai miei diritti di gentiluomo, 1964Signed and dated ‘Dalí 1964’ (lower left, lower centre and lower right) and inscribed ‘Dulcinea’ (lower left)Black ball-point pen, brush and gray wash and aerography on card laid down on masonite 42.8 x 55 cm - 16.8 x 21.7 in.

Price on request

ProvenancePrivate collection (acquired from the artist), Europe

Exhibited Augsburg, Römisches Museum, Dalí, Mara e Beppe, Bilder einer Freundschaft, September - November 2000

LiteratureMiguel de Cervantes, Don Quischiotte della Mancia, Milan, Aldo Palazzi (ed.), 1965, ill. p. 369, details ill. pp. 141, 309 and 369

CertificateRobert P., Nicolas R. & Olivier M.Descharnes have confirmed the authenticity of this workThis work is registered in the Archives Descharnes under the reference No. d5338The Fundació Gala - Salvador Dalí has confirmed the authenticity of this work

In 1964 and 1965 Dalí created a series of 26 works illustrating Miguel de Cervantes’ masterpiece Don Quixote. The illustrations were published in a serialized edition of the novel that was distributed through the magazine Tempo. Varied in their graphic style and phantasmagorical imagery, Dalí’s illustrations demonstrated the artist’s fascination with one of the most influential works of Spanish literature. Inspired by Don Quixote’s delirious trips through Spain, Dalí adopts the protagonist’s neurotic universe to create unprecedentedly powerful illustrations that combine the literary escapades with his own staggering genius.

10

Monumentalsculptures

‘A true artist is not one who is inspired, but one who inspires others.’

Salvador Dalí

12

Persistence of Memory, 1980, MonumentalInscribed ‘Dalí’Bronze, edition of 8 + 4 EAH: 500 cm - 196.9 in.

Price on request

ExhibitedParis, Place Vendôme, Dalí Monumental Sculpture, 1995 Copenhagen, Arken Museum of Modern Art, Dalí, 1999 Guangzhou, Guangdong Museum of Art, Dalí: A Journey into Fantasy, 2002 • Beijing, China Millennium Monument, Dalí: A Journey into Fantasy, 2002 Shanghai, Shanghai International Urban Planning Center, Dalí: A Journey into Fantasy, 2002 - 2003 Wuhan, Wuhan International Urban Planning Center, Dalí: A Journey into Fantasy, 2003 Shanghai, The Shanghai Art Museum, Salvador Dalí in Shanghai, 2009 New York, Time Warner Center, The Vision of a Genius, 2010 - 2011

Marseille, Galerie Mickael Marciano, Salvador Dalí, 2013

LiteratureDalí: A Journey into Fantasy, exh. cat., China Millennium Monument, 2002, ill. of another cast, pp. 46 - 47 Dalí: A Journey into Fantasy, exh. cat., Shanghai Urban Planning Center, 2002-2003, ill. of another cast, pp. 36 - 37 Robert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 246, No. 632 nSalvador Dalí in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, p. 170Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 190 - 191 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

Dalí has isolated the central image of his best-known painting and given it the same title. It is a simple figure: a limp watch draped over the branch of a dead tree. Dalínean time is not rigid; it is one with space…fluid. The unexpected softness of the watch also represents the psychological fact that the speed of time, while precise in scientific use, is widely variable in human perception. When we are involved in pleasant activities or in work that absorbs all our attention, ‘time flies’, but when we are mired in boredom or discomfort, it drags. The limp watch no longer ‘keeps’ time; it does not measure its passage. Thus, the speed of our time depends only on us.

14

Profile of Time, 1977 (first cast in 1984)Inscribed ‘Dalí’Bronze, edition of 8 + 4 EAH: 380 cm - 149.6 in.

Price on request

ExhibitedParis, Place Vendôme, Dalí Monumental Sculpture, 1995 Vienna, Palais Pallavicini, Dalí, 1997 • Munster, Dalí, 1997 Rome, Galleria di Piazza Colonna, Dalí Scultore Dalí Illustratore, 1999 Royal Botanical Kew Gardens, Dalí, 2001-2002 Sydney, Customs House, The Dalí Universe, 2002 Singapore, Opera Gallery , Dalí in Singapore, 2006 • Monte Carlo, Place du Casino, Casino Gardens, 2006 Shanghai, Zendai MOMA Museum, 2009Bahrain, Opera Gallery at the Bahrain Financial Harbour, 2011Sorrento, Piazza Veniero, The Dalí Universe Sorrento, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 238, ref. 615 Dalí in Singapore, exh. cat., Singapore, Opera Gallery, 2006, ill. of another cast, pp. 10 - 11Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, pp. 168-169 Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 192 - 193 - 194 - 195 Awaken your imagination in Bahrain, exh. cat., Bahrain, Opera Gallery, 2011, ill. of another cast, pp. 4 - 5The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, p. 107

CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

This sculpture echoes Dalí’s famous 1931 painting The Persistence of Memory in which the famous melted watch appeared for the first time. As the watch liquefies over the tree, it forms into a human profile, underlining the interminable relationship between man and time. The unexpected softness of the watch also represents the psychological aspect whereby time, whilst considered to be precise and fixed in its nature, can, in fact, vary significantly in human perception. All men must bend to the passing of time. We see Dalí’s profile in the face of the clock. There is a tear falling from his eye, lamenting the path of life that all men must travel.

16

Space Venus, 1977 (first cast in 1984)Inscribed ‘Dalí’Bronze, edition of 8 + 4 EAH: 350 cm - 137.8 in.

Price on request

ExhibitedFrankfurt, Operplatz, Dalí, 1994 • Berlin, Citadel, Dalí, 1994 Paris, Place Vendôme, Dalí Monumental Sculpture, 1995 Rome, Galleria di Piazza Colonna, Dalí Scultore Dalí Illustratore, 1999London, Queen’s Walk (South Bank of River Thames), The Dalí Universe, 2000 - 2010Singapore, Opera Gallery, Dalí in Singapore, 2006

Hong Kong, Opera Gallery, Masterpieces and Beyond, Sites Unseen, 2006Haifa, Convention Center of Haifa Israel, The Eyes of a Genius, 2013 • Marseille, Galerie Mickael Marciano, Salvador Dalí, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 239, No. 616 Masterpieces and Beyond, Sites Unseen, exh. cat., Hong Kong, Opera Gallery, 2006, ill. of another cast, pp. 6 - 7Dalí in Singapore, exh. cat., Singapore, Opera Gallery, 2006, ill. of another cast, pp. 14 - 15Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 200 - 201The Eyes of a Genius, exh. cat., Haifa, Convention Center of Haifa Israel, 2013, ill. of another cast CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

Venus is the goddess of beauty, and Dalí pays homage to the female figure by adding his own special elements. The underlying form in this sculpture is of a classic marble statue of a female torso, to which have been added four Dalínian elements: a soft watch, an egg, two ants and a separation of the body into two parts. The watch is draped over the neck to give us two opposing messages; that beauty of the flesh is temporary and will vanish, while beauty of art is timeless and eternal. The ants are reminders of human mortality and impermanence. The Space Venus is divided into two parts to reveal the egg, which like the ant, is a favourite Dalínian theme given the duality of its hard exterior and soft interior. The egg is a positive symbol and represents life, renewal, continuation and the future.

18

Homage to Terpsichore, 1977 (first cast in 1984) Inscribed ‘Dalí’Bronze, edition of 8 + 4 EAH: 375 cm - 149.6 in.

Price on request

20 ExhibitedSorrento, Piazza Angelina Lauro, The Dalí Universe Sorrento, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 240, No. 620Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 186 - 187The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, p. 106 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

Terpsichore is one of the famed nine Mythological muses. In creating his version of the muse of dance, Terpsichore, Dalí uses a reflected image, setting the soft, carnal muse against the hardened, statuesque one. The lack of definition in both faces clearly underlines the purely symbolic significance of these figures. The dancer with the smooth and classical form represents Grace and the unconscious, while the other angular, cubist figure represents the ever-growing and chaotic rhythm of modern life. Both figures dance side by side in everyone.

Woman Aflame, 1980 (first cast in 1980)Inscribed ‘Dalí’Bronze, edition of 8 + 4 EAH: 360 cm - 141.7 in.

Price on request

ExhibitedParis, Place Vendôme, Dalí Monumental Sculpture, 1995 Wurzburg, Dalí, 1996 Mainz, Congress-Centrum, Dalí, 1997 • Innsbruk, Dalí, 1997 • Vienna, Palais Pallavicini, Dalí, 1997 Hamburg, Millerntor Hochhaus im Lichthof, Dalí, 1998 Copenhagen, Arken Museum of Modern Art, Dalí, 1999 • Essen, Colosseum, Dalí, 1999 Savonlinna, Retretti Arts Center, Dalí, 2001 Singapore, Opera Gallery at Uob Plaza, Capital Tower, Dalí in Singapore, 2006 • Hong Kong, Opera Gallery, Masterpieces and Beyond, Sites Unseen, 2006 Sotheby’s at Chatsworth, 2008 Henley, Henley Festival, 2009 New York, Time Warner Center, The Vision of a Genius, 2010 - 2011Singapore, ArtScience Museum at Marina Bay Sands, Dalí, Mind of a Genius, 2011Taipei, National Chiang Kai-shek Memorial Hall, Dalí, Mind of Genius, 2012 Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí, Mind of Genius, 2012 - 2013Sorrento, Piazza Tasso, The Dalí Universe Sorrento, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 255, No. 655 Masterpieces and Beyond, Sites Unseen, exh. cat., Hong Kong, Opera Gallery, 2006, ill. of another cast, pp. 8 - 9Dalí in Singapore, exh. cat., Singapore, Opera Gallery, 2006, ill. of another cast, pp. 16 - 17 Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 208 - 209Dalí, Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, p. 81Dalí, Mind of Genius, exh. cat., Taipei, National Chiang Kai-shek Memorial Hall, 2012, ill. of another cast, p. 9The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, p. 106 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

This sculpture unites two of Dalí’s obsessions: fire, and a female figure with drawers. The flames seem to have a life of their own, and represent the hidden intensity of unconscious desire, while the drawers represent the mystery of hidden secrets. This beautiful faceless woman symbolizes all women. For Dalí, a woman’s mystery is her true beauty.

22

Museum size sculptures

‘Drawing is the honesty of the art. There is no possibility of cheating: it is either good or bad.’

Salvador Dalí

24

Cabinet Anthropomorphique, 1982Inscribed ‘Dalí’Bronze, edition of 11 + 1 EA H: 96 cm - 37.8 in.

Price on request

26 ExhibitedNaples, Museo di Palazzo Reale, Dalí Scultore Dalí Illustratore, 1989 • Ferrara, Galleria Civica d’Arte Moderna, Dalí, 1989 • Rome, Accademia Spagnola di Belle Arti, Dalí Scultore Dalí Illustratore, 1989 Genoa, Museo d’Arte Contemporanea, Dalí, 1991 • Tokyo, Mitsukoshi Museum Of Art, Dalí Exhibition, 1991 Toulouse, Musée d’Art Moderne, Dalí Retrospectif, 1994 Berlin, Grosse Orangerie des Schlosses-Charlottenburg, Dalí 500 Meisterwerks, 1996 Heidelburg, Schloss Heidelberg, Dalí, 1997 Palermo, Palazzo dei Normanni, Dalí, 1999 • Copenhagen, Arken Museum of Modern Art, Dalí, 1999London, County Hall Gallery, The Dalí Universe, 2000 - 2010Guangzhou, Guangdong Museum of Art, Dalí: A Journey into Fantasy, 2002 • Beijing, China Millennium Monument, Dalí: A Journey into Fantasy, 2002 Shanghai, Shanghai Urban Planning Center, Dalí: A Journey into Fantasy, 2002 - 2003 Wuhan, Wuhan International Urban Planning Center, Dalí: A Journey into Fantasy, 2003 Lavardens, Chateau Lavardens, L’Univers de Dalí, 2004 • Seoul, Seoul Arts Center, Dalí, 2004 Soumaya Museum, Mexico City, 2008Shanghai, The Shanghai Art Museum, Salvador Dalí’ in Shanghai, 2009Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013

LiteratureFranco Passoni, Dalí nella terza dimensione, Milan, 1987, ill. of another cast, p. 63 Dalí nella terza dimensione, exh. cat., Bari, Castello Svevo, 1988, ill. of another cast, p. 43 Dalí, exh. cat., Paris, Galerie Patrice Trigano, 1989, ill. of another cast, p. 37 Dalí Scultore Dalí Illustratore, exh. cat., Naples, Museo di Palazzo Reale, 1989, ill. of another cast, p. 43 Dalí Exhibition, exh. cat., Tokyo, Fukuoka Prefectural Museum of Art, 1991, ill.of another cast, p. 68 Salvador Dalí, exh. cat., Copenhagen, Arken Museum of Modern Art, 1999, ill. of another cast, p. 28 The Dalí Universe, exh. cat., London, County Hall Gallery, 2000, ill. of another cast, pp. 90 - 91 Dalí: A Journey into Fantasy, exh. cat., Guangdong Museum of Art, 2002 Dalí: A Journey into Fantasy, exh. cat., China Millennium Monument, 2002, ill. of another cast, pp. 104 - 105 Dalí: A Journey into Fantasy, exh. cat., Shanghai Urban Planning Center, 2002-2003, ill. of another cast, pp. 46 - 47

L’Univers de Dalí, exh. cat., Chateau Lavardens, 2004, ill. of another cast, pp. 82 - 83 Dalí, exh. cat., Seoul, Seoul Arts Center, 2004, ill. of another cast, pp. 82 - 83Robert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture) Paris, 2004, ill. of another castSalvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, pp. 118 - 119Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 44 - 45 Dalí: Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, pp. 14 - 15Dalí: Mind of Genius, exh. cat., Taipei, National Chiang Kai-shek Memorial Hall, 2012, ill. of another cast, pp. 14 - 15The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 36 - 37


Over the years Dalí has made a number of drawings of this figure with slight variations. Significantly, in all versions, including the sculpture, the face is concealed by long hair. Although the body derives from a human figure, essentially it is not human – this is not an individual, a human being with personality. For this reason the sculpture is rightly titled Anthropomorphic, meaning ‘in the form of a human’. The drawers are empty, seemingly suggesting that the cabinet may be considered a place where we can store images that rise from our subconscious. The raised hand seems to warn us not to approach unless we are strong enough to accept the surreal.

© IA

R

Dalínian Dancer, 1949 (first cast in 1984)Inscibed ‘Dalí’Bronze, edition of 8 + 4 EA + 2 EFH: 175 cm - 68.9 in.

Price on request

28 ExhibitedSoumaya Museum, Mexico City, 2008 Shanghai, The Shanghai Art Museum, Salvador Dalí’ in Shanghai, 2009 New York, Time Warner Center, The Vision of a Genius, 2010 - 2011Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 251, No. 646 Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, p. 129 Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 54 - 55 The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 30 - 31 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

Inspired by her own inner force, this vibrant dancer moves to the intense and passionate rhythms of the Spanish flamenco. Dalí was fascinated with the art and spirit of dance, especially that of the flamenco, emblematic of his homeland, and known for exploring the full range of human emotions. The dancer’s skirts twirl around her in a spontaneous display of vitality and ecstasy.

© IA

R

Dance of Time II, 1979 (first cast in 1984)Inscribed ‘Dalí’Bronze, edition of 8 + 4 EA + 2 EFH: 150 cm - 59.1 in.

Price on request

30

ExhibitedLondon, County Hall Gallery, The Dalí Universe, 2000 - 2010Paris, Espace Montmartre, 2004 • Venice, Galleria San Marco, 2004 Opera Gallery, Singapore, 2006 • Hong Kong, Masterpieces and Beyond, Sites Unseen, 2006Shanghai, The Shanghai Art Museum, Salvador Dalí in Shanghai, 2009New York, Time Warner Center, The Vision of a Genius, 2010 - 2011Bahrain, Opera Gallery at the Bahrain Financial Harbour, 2011 • Dubai, Opera Gallery at Dubai Mall, 2011Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 248, ref. 637 Masterpieces and Beyond, Sites Unseen, exh. cat., Hong Kong, Opera Gallery, 2006, ill. of another cast, pp. 10 - 11Dalí in Singapore, exh. cat., Singapore, Opera Gallery, 2006, ill. of another cast, pp. 32 - 33 Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, pp. 70 - 71 Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 58 - 59Awaken your imagination in Bahrain, exh. cat., Dubai, Opera Gallery, 2011, ill. of another cast, p. 13Dalí: Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, at the back of the front coverDalí: Mind of Genius, exh. cat., Taipei, National Chiang Kai-shek Memorial Hall, 2012, ill. of another cast, p. 11The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 32 - 33


The melted watch is the most well-known and beloved of Dalí’s iconoclastic images – the artist chose to portray this image consistently throughout his lifetime, beginning in 1932. The ever-present fluidity of time is represented in this sculpture as time not only moving, but dancing in rhythm to the beat of the universe. Universal time knows no limits; it must be remembered that time, as we understand it, is a human notion. Instead, Dalínian time is perpetual and ‘dances on’ stopping for no man, history or even the cosmos. The image depicts Dalí’s fantastical relationship with time, his perception of its constricting limitations and the importance he believed to be inherent in memory. This image is depicted in three different forms: Dance of Time I,II and III. ©

IAR

Homage to Fashion, 1971 (first cast in 1984)Inscribed ‘Dalí’Bronze, edition of 8 + 4 EA + 2 EFH: 179 cm - 70.5 in.

Price on request

32 ExhibitedShanghai, Zendai MOMA Museum, 2009 Courchevel, Open Air Exhibition, Dalí au Sommet, 2009 - 2010Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011 National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, Taipei, Taiwan, 2012Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, Kaohsiung, Taiwan, 2012 - 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 246, No. 634 Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, pp. 132 - 133 Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 70 - 71Dalí: Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, p. 10Dalí: Mind of Genius, exh. cat., Taipei, National Chiang Kai-shek Memorial Hall, 2012, ill. of another cast, pp. 48 - 49 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

Dalí’s relationship with the world of haute couture began in the 1930s through his work with Coco Chanel, Elsa Schiaparelli and Vogue magazine, and lasted throughout his lifetime. This remarkable Venus, posing in the stance of a ‘supermodel’, has been created with a head of roses, the most exquisite of flowers. Her face lacks definition, allowing the admirer to imagine any face he desires. On bended knee we observe a dignified gentleman, a ‘dandy’ paying homage to this 20th century muse.

© IA

R

Persistence of Memory, 1980Inscribed ‘Dalí’Bronze, edition of 6 + 3 EA + 3 HCH: 191 cm - 75.2 in.

Price on request

34

ExhibitedLugano, Villa Malpensata, Spagna - 75 Anni di Protagonisti nell’Arte, 1986 Naples, Museo di Palazzo Reale, Dalí Scultore Dalí Illustratore, 1989 • Ferrara, Galleria Civica d’Arte Moderna, Dalí, 1989 • Rome, Accademia Spagnola di Belle Arti, Dalí Scultore Dalí Illustratore, 1989 Genoa, Museo d’Arte Contemporanea, Dalí, 1991 • Tokyo, Mitsukoshi Museum Of Art, Dalí Exhibition, 1991 Toulouse, Musée d’Art Moderne, Dalí Retrospectif, 1994 Berlin, Grosse Orangerie des Schlosses- Charlottenburg, Dalí 500 Meisterwerks, 1996 Heidelburg, Schloss Heidelberg, Dalí, 1997Palermo, Palazzo dei Normanni, Dalí 1999 • Copenhagen, Arken Museum of Modern Art, Dalí, 1999London, County Hall Gallery, The Dalí Universe, 2000 - 2010Guangzhou, Guangdong Museum of Art, Dalí: A Journey into Fantasy, 2002 • Beijing, China Millennium Monument, Dalí: A Journey into Fantasy, 2002 Shanghai, Shanghai Urban Planning Center, Dalí: A Journey into Fantasy, 2002 - 2003 Wuhan, Wuhan International Urban Planning Center, Dalí: A Journey into Fantasy, 2003Lavardens, Chateau Lavardens, L’Univers de Dalí, 2004 • Seoul, Seoul Arts Center, Dalí, 2004 Soumaya Museum, Mexico City, 2008 Shanghai, The Shanghai Art Museum, Salvador Dalí’ in Shanghai, 2009 Bahrain, Opera Gallery at the Bahrain Financial Harbour, 2011 • Dubai, Opera Gallery at Dubai Mall, 2011 •

Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011Venice, Museo di Sant’Apollonia, The Dalí Universe, 2011 - 2013Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013 • Sorrento, Villa Fiorentino, The Dalí Universe Sorrento, 2013

LiteratureDalí Sculpture, exh.cat., New York, Aberbach Fine Art, 1986, ill. of another cast, p. 23 Spagna - 75 Anni di Protagonisti nell’Arte, exh. cat., Milan, Edizioni Electa, 1986, ill.of another cast, p. 72 Franco Passoni, Dalí nella terza dimensione, Milan, 1987, p. 41 Dalí nella terza dimensione, exh. cat., Bari, Castello Svevo, 1988, ill. of another cast, p. 47 Dalí, exh. cat., Paris, Galerie Patrice Trigano, 1989, ill. of another cast, p. 31 Dalí Scultore Dalí Illustratore, exh. cat., Naples, Museo di Palazzo Reale, 1989, ill. of another cast, p. 47 Dalí Exhibition, exh. cat., Tokyo, Fukuoka Prefectural Museum of Art, 1991, ill. of another cast, p. 76 Salvador Dalí, exh.cat., Copenhagen, Arken Museum of Modern Art, 1999, ill. of another cast, p. 35 The Dalí Universe, exh. cat., London, County Hall Gallery, 2000, ill. of another cast, pp. 36 - 37Dalí: A Journey into Fantasy, exh. cat., Guangdong Museum of Art, 2002 Dalí: A Journey into Fantasy, exh. cat., China Millennium Monument, 2002, ill. of another cast, pp. 72 - 73 Dalí: A Journey into Fantasy, exh. cat., Shanghai Urban Planning Center, 2002 - 2003, pp. 62 - 63 L’Univers de Dalí, exh. cat., Chateau Lavardens, 2004, ill. of another cast, p. 48 Dalí, exh. cat, Seoul, Seoul Arts Center, 2004, ill. of another cast, pp. 42 - 43

Robert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 238, No. 615 Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, pp. 66 - 67Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 116 - 117 Awaken your imagination in Bahrain, exh. cat., Dubai, Opera Gallery, 2011, ill. of another cast, p. 16Dalí: Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, p. 40Dalí: Mind of Genius, exh. cat., Taipei, National Chiang Kai-shek Memorial Hall, 2012, ill. of another cast, pp. 42 - 43The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 44 - 45The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, pp. 60 - 63 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

Dalí has isolated the central image of his best-known painting and given it the same title. It is a simple figure: a limp watch draped over the branch of a dead tree. Dalínean time is not rigid; it is one with space…fluid. The unexpected softness of the watch also represents the psychological fact that the speed of time, while precise in scientific use, is widely variable in human perception. When we are involved in pleasant activities or in work that absorbs all our attention, ‘Time flies’, but when we are mired in boredom or discomfort, it drags. The limp watch no longer ‘keeps’ time; it does not measure its passage. Thus, the speed of our time depends only on us.

© IA

R

Snail and the Angel, 1977, (first cast in 1984)Inscribed ‘Dalí’Bronze, 7 + 3 EA + 2HC + 2 EFH: 151 cm - 59.5 in.

Price on request

36

ExhibitedNaples, Museo di Palazzo Reale, Dalí Scultore Dalí Illustratore, 1989 • Ferrara, Galleria Civica d’Arte Moderna, Dalí, 1989 • Rome, Accademia Spagnola di Belle Arti, Dalí Scultore Dalí Illustratore, 1989 Genoa, Museo d’Arte Contemporanea, Dalí, 1991 • Tokyo, Mitsukoshi Museum Of Art, Dalí Exhibition, 1991 Toulouse, Musée d’Art Moderne, Dalí Retrospectif, 1994 Berlin, Grosse Orangerie des Schlosses-Charlottenburg, Dalí 500 Meisterwerks, 1996 Heidelburg, Schloss Heidelberg, Dalí, 1997 Palermo, Palazzo dei Normanni, Dalí, 1999 • Copenhagen, Arken Museum of Modern Art, Dalí, 1999London, County Hall Gallery, The Dalí Universe, 2000 - 2010 Guangzhou, Guangdong Museum of Art, Dalí: A Journey into Fantasy, 2002 • Beijing, China Millennium Monument, Dalí: A Journey into Fantasy, 2002 Shanghai, Shanghai Urban Planning Center, Dalí: A Journey into Fantasy, 2002 - 2003 Wuhan, Wuhan International Urban Planning Center, Dalí: A Journey into Fantasy, 2003 Lavardens, Chateau Lavardens, L’Univers de Dalí, 2004 Seoul, Seoul Arts Center, Dalí, 2004Soumaya Museum, Mexico City, 2008 Shanghai, The Shanghai Art Museum, Salvador Dalí’ in Shanghai, 2009 • Courchevel, Open Air Exhibition, Dalí au Sommet, 2009-2010 New York, Time Warner Center, The Vision of a Genius, 2010 - 2011 • Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011 • Venice, Museo di Sant’Apollonia, The Dalí Universe, 2011 - 2013Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013 • Sorrento, Villa Fiorentino, The Dalí Universe Sorrento, 2013 • Marseille, Galerie Mickael Marciano, Salvador Dalí, 2013

LiteratureFranco Passoni, Dalí nella terza dimensione, Milan, 1987, p. 43 Dalí nella terza dimensione, exh. cat., Bari, Castello Svevo, 1988, ill. of another cast, p. 32 Dalí, exh. cat., Paris, Galerie Patrice Trigano, 1989, ill. of another cast, p. 25 Dalí Scultore Dalí Illustratore, exh. cat., Naples, Museo di Palazzo Reale, 1989, ill. of another cast, p. 32 Dalí Exhibition, exh. cat., Tokyo, Fukuoka Prefectural Museum of Art, 1991, ill. of another cast, p. 75 Salvador Dalí, exh. cat., Copenhagen, Arken Museum of Modern Art, 1999, ill. of another cast, p. 36 The Dalí Universe, exh. cat., London, County Hall Gallery, 2000, ill. of another cast, pp. 122 - 123Dalí: A Journey into Fantasy, exh. cat., China Millennium Monument, 2002, ill. of another cast, pp. 148 - 149 Dalí: A Journey into Fantasy, exh. cat., Shanghai Urban Planning Center, 2002 - 2003, pp. 110 - 111 L’Univers de Dalí, exh. cat., Chateau Lavardens, 2004, ill. of another cast, pp. 114 - 115 Dalí, exh. cat., Seoul, Seoul Arts Center, 2004, ill. of another cast, pp. 110 - 111 Robert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 241, No. 621 Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, pp. 144 - 145

Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 130 - 131 - 132 - 133 Dalí: Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, p. 34Dalí: Mind of Genius, exh. cat., Taipei, National Chiang Kai-shek Memorial Hall, 2012, ill. of another cast, pp. 26 - 27The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 50 - 51The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, pp. 35 - 36 - 37 Salvador Dalí, exh. cat., Marseille, Galerie Mickael Marciano, 2013, ill. of another cast


This sculpture occupies an important place in the Dalínian universe, as it is intimately connected with the artist’s encounter with Sigmund Freud, who Dalí came to regard as his spiritual father. As part of the early Surrealist movement, Dalí was surrounded by psychoanalytical influences, and these ideas were strongly incorporated into his artwork. Dalí was captivated when he saw a snail on a bicycle outside Freud’s house, connecting the snail with the image of a human head; the head of Freud. It is well-known that one of Dalí’s more obsessive fetishes is the snail, because it incorporates the paradox of softness, (the animal), with hardness, (the shell). Paradoxically then, the snail, the universal symbol of the idle passing of time, has been given wings and is riding fluidly moving waves. A winged messenger of the gods, capable of limitless speed, bestows the snail with the gift of motion by touching down on its back for the briefest of moments.

© IA

R

Space Elephant, 1980 (first cast in 1980)Inscribed ‘Dalí’ Bronze, edition of 6 + 3 EAH: 277 cm - 109.1 in.

Price on request

ExhibitedLugano, Villa Malpensata, Spagna - 75 Anni di Protagonisti nell’Arte, 1986Naples, Museo di Palazzo Reale, Dalí Scultore Dalí Illustratore, 1989 • Rome, Accademia Spagnola di Belle Arti, Dalí Scultore Dalí Illustratore, 1989Tokyo, Mitsukoshi Museum Of Art, Dalí Exhibition, 1991London, County Hall Gallery, The Dalí Universe, 2000 - 2010Seoul, Seoul Arts Center, Dalí, 2004Shanghai, The Shanghai Art Museum, Salvador Dalí in Shanghai, 2009New York, Time Warner Center, The Vision of a Genius, 2010 - 2011Dubai, Opera Gallery at Dubai Mall, 2011 • Bahrain, Opera Gallery at the Bahrain Financial Harbour, 2011 •

Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011Venice, Museo di Sant’Apollonia, The Dalí Universe, 2011 - 2013Rome, Galleria Ca’ D’Oro, Senza Tempo, 2012 • Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Sorrento, Villa Fiorentino, The Dalí Universe Sorrento, 2013

LiteratureSpagna 75 Anni di Protagonisti nell’Arte, exh. catalogue, Milan, Edizioni Electa, 1986, ill. of another cast, p. 72Dalí Scultore Dalí Illustratore, exh. cat., Naples, Museo di Palazzo Reale, 1989, ill. of another cast, p. 29Dalí Exhibition, exh. cat., Tokyo, Fukuoka Prefectural Museum of Art, 1991, ill. of another cast, p. 82The Dalí Universe, exh. cat., London, County Hall Gallery, 2000, ill. of another cast, pp. 38 - 39Dalí, exh. cat., Seoul, Seoul Arts Center, 2004, ill. of another cast, pp. 36 - 37Robert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 244, No. 631Salvador Dalí in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, pp. 54 - 55Awaken your imagination in Bahrain, exh. cat., Dubai, Opera Gallery, 2011, ill. of another cast, p. 12The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, pp. 56, 57 and 91


The Space Elephant embodies the Dalínian symbol that was born in 1946 when the artist painted one of his most famous pictures The Temptation of St. Anthony. Dalí created the image of an elephant in the Egyptian desert carrying an obelisk, a symbol of the presence and progress of technology in the modern world. Four elephants stand on spider like legs of desire, and offer art, beauty, power, pleasure and knowledge. For this sculpture, based on the elephants in the painting, Dalí maintains the almost invisible spindle like legs emphasizing the contrast between robustness and fragility, and contrasting the idea of weightlessness with structure. This fantastically surreal creature, moving through space towards the heavens, symbolizes a flight of fantasy to a mesmerizing and surrealistic universe.

38

© IA

R

Woman of Time, 1973 (first cast in 1984)Inscribed ‘Dalí’Bronze, edition of 8 + 4 EA + 2 EFH: 242 cm - 95.3 in.

Price on request

40ExhibitedHong Kong, Opera Gallery, Masterpieces and Beyond, Sites Unseen, 2006Shanghai, The Shanghai Art Museum, Salvador Dalí’ in Shanghai, 2009Courchevel, Open Air Exhibition, Dalí au Sommet, 2009 - 2010 New York, Time Warner Center, The Vision of a Genius, 2010 - 2011Bahrain, Opera Gallery at the Bahrain Financial Harbour, 2011 • Dubai, Opera Gallery at Dubai Mall, 2011Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011Venice, Museo di Sant’Apollonia, The Dalí Universe, 2011- 2013Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013 • Sorrento, Villa Fiorentino, The Dalí Universe Sorrento, 2013

LiteratureRobert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), Paris, 2004, ill. of another cast, p. 250, ref. 644 Masterpieces and Beyond, Sites Unseen, Hong Kong, 2006, ill. of another cast, pp. 16 - 17Salvador Dalí’ in Shanghai, exh. cat., Shanghai, The Shanghai Art Museum, 2009, ill. of another cast, p. 128Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 172 - 173 Awaken your imagination in Bahrain, exh. cat., Dubai, Opera Gallery, 2011, ill. of another cast, p. 14Dalí: Mind of a Genius, exh. cat., Singapore, ArtScience Museum at Marina Bay Sands, 2011, ill. of another cast, p. 65National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, Taipei, 2012, ill. of another cast, p. 24The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 56 - 57The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, pp. 54 - 58 - 60 - 63


Holding a perfectly formed flower and dressed in gently flowing robes, this radiant young woman bears Dalí’s most famous symbol… the melting watch, which hints at the human construction of the nature of time. The artist allows the watch to pose the question – is beauty dependent on time, or is it eternal? The clock alludes to the woman’s awareness that beauty can be independent of time, whether it is corporeal grace or an ethereal rose. ©

IAR

42

Woman Aflame, 1980 (first cast in 1980)Inscribed ‘Dalí’Bronze, edition of 6 + 3 EA + 3 HCH: 176 cm - 69.3 in.

Price on request

ExhibitedNew York, Marlborough New York, Masters of Modern Sculpture, 1984Naples, Museo di Palazzo Reale, Dalí Scultore Dalí Illustratore, 1989 • Ferrara, Galleria Civica d’Arte Moderna, Dalí, 1989 • Rome, Accademia Spagnola di Belle Arti, Dalí Scultore Dalí Illustratore, 1989Genoa, Museo d’Arte Contemporanea, Dalí, 1991 • Tokyo, Mitsukoshi Museum Of Art, Dalí Exhibition, 1991Toulouse, Musée d’Art Moderne, Dalí Retrospectif, 1994Berlin, Grosse Orangerie des Schlosses- Charlottenburg, Dalí 500 Meisterwerks, 1996Heidelburg, Schloss Heidelberg, Dalí, 1997Palermo, Palazzo dei Normanni, Dalí, 1999 • Copenhagen, Arken Museum of Modern Art, Dalí, 1999London, County Hall Gallery, The Dalí Universe, 2000 - 2010Guangzhou, Guangdong Museum of Art, Dalí: A Journey into Fantasy, 2002 • Beijing, China Millennium Monument, Dalí: A Journey into Fantasy, 2002Shanghai, Shanghai Urban Planning Center, Dalí: A Journey into Fantasy, 2002 - 2003Wuhan, Wuhan International Urban Planning Center, Dalí: A Journey into Fantasy, 2003Lavardens, Chateau Lavardens, L’Univers de Dalí, 2004 • Seoul, Seoul Arts Center, Dalí, 2004Soumaya Museum, Mexico City, 2008Singapore, ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, 2011Venice, Museo di Sant’Apollonia, The Dalí Universe, 2011 - 2013Taipei, National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, 2012Kaohsiung, Kaohsiung Museum of Fine Arts, Dalí: Mind of Genius, 2012 - 2013Florence, Palazzo Medici Riccardi, The Dalí Universe Florence, 2013 • Sorrento, Villa Fiorentino, The Dalí Universe Sorrento, 2013

LiteratureMasters of Modern Sculpture, exh. cat., New York, Marlborough New York, 1984, ill. of another cast, p. 15 Dalí Sculpture, exh. cat., New York, Aberbach Fine Art, 1986, ill. of another cast, p. 19 Franco Passoni, Dalí nella terza dimensione, Milan, 1987, p. 18 Dalí nella terza dimensione, exh. cat., Bari, Castello Svevo, 1988, ill. of another cast, p. 19 Dalí, exh. cat., Paris, Galerie Patrice Trigano, 1989, ill. of another cast, p. 21 Dalí Scultore Dalí Illustratore, exh. cat., Naples, Museo di Palazzo Reale, 1989, ill. of another cast, p. 19 Dalí Exhibition, exh. cat., Tokyo, Fukuoka Prefectural Museum of Art, 1991, ill. of another cast, p. 81 Salvador Dalí, exh. cat., Copenhagen, Arken Museum of Modern Art, 1999, ill. of another cast, p. 39 The Dalí Universe, exh. cat., London, County Hall Gallery, 2000, ill. of another cast, pp. 94 - 95Dalí: A Journey into Fantasy, exh. cat., Guangdong Museum of Art, 2002 Dalí: A Journey into Fantasy, exh. cat., China Millennium Monument, 2002, ill. of another cast, pp. 112 - 113 Dalí: A Journey into Fantasy, exh. cat., Shanghai Urban Planning Center, 2002 - 2003, pp. 86 - 87 L’Univers de Dalí, exh. cat., Chateau Lavardens, 2004, ill. of another cast, pp. 86 - 87 Dalí, exh. cat., Seoul, Seoul Arts Center, 2004, ill. of another cast, pp. 78 - 79

Robert and Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures & Objects, (Catalogue Raisonné of Dalí Sculpture), 2004, ill. of another cast, p. 255, ref. 655 Beniamino Levi, et al., Dalí in the Third Dimension, The Stratton Foundation Collection, Umberto Allemandi & C., Turin, 2010, ill. of another cast, pp. 168 - 169 - 170 - 171 ArtScience Museum at Marina Bay Sands, Dalí: Mind of a Genius, Singapore, 2011, ill. of another cast, p. 8National Chiang Kai-shek Memorial Hall, Dalí: Mind of Genius, Taipei, 2012, ill. of another cast, p. 8The Dalí Universe Florence, exh. cat., Florence, Palazzo Medici Riccardi, 2013, ill. of another cast pp. 54 - 55The Dalí Universe Sorrento, exh. cat., Confine Edizioni, Sorrento, 2013, ill. of another cast, p. 54 CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this work

This sculpture unites two of Dalí’s obsessions: fire, and a female figure with drawers. The flames seem to have a life of their own, and represent the hidden intensity of unconscious desire, while the drawers represent the mystery of hidden secrets. This beautiful faceless woman symbolizes all women. For Dalí, a woman’s mystery is her true beauty.

© IA

R

Smallsculptures

‘People love mystery, and that is why they love my paintings.’

Salvador Dalí

44

© IA

R©

IAR

© IA

R©

IAR

Dance of Time I, 1979 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 38.5 cm - 15.2 in.

Price on request

Dance of Time III,1979 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 26.5 cm - 10.4 in.

Dance of Time II, 1979 (first cast in 1984)

Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EA

H: 30.5 cm - 12 in.

46

Profile of Time, 1977 (first cast in 1984)


H: 51 cm - 20.1 in.

Unicorn, 1977 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 57 cm - 22.4 in.

© IA

R©

IAR

© IA

R©

IAR

48

Horse Saddled with Time, 1980Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 44 cm - 17.3 in.

Nobility of Time, 1977 (first cast in 1984)


H: 60 cm - 23.6 in.

Lady Godiva with Butterflies, 1976 (first cast in 1984)


H: 51 cm - 20.1 in.

Price on request

© IA

R©

IAR

© IA

R©

IAR

50

Alice in Wonderland, 1977 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 90.5 cm - 35.6 in.

Dalínian Dancer, 1949 (first cast in 1984)


H: 40.5 cm - 15.9 in.

Price on request

Homage to Fashion, 1971 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 51 cm - 20.1 in.

Man with Butterfly, 1968 (first cast in 1984)


H: 55.5 cm - 21.8 in.

© IA

R©

IAR

© IA

R©

IAR

52

Woman of Time, 1973 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 65.5 cm - 25.8 in.

Woman Aflame, 1980 (first cast in 1980)


H: 84 cm - 33.1 in.

Adam and Eve, 1968 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 52 cm - 20.5 in.

Surrealist Piano, 1954 (first cast in 1984)


H: 60 cm - 23.6 in.

Price on request

© IA

R©

IAR

© IA

R©

IAR

54

Saint George and the Dragon, 1977 (first cast in 1984)


H: 46 cm - 18.1 in.

Space Elephant, 1980Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 94 cm - 37 in.

Triumphant Elephant, 1975 (first cast in 1984)Inscribed ‘Dalí’ Bronze, edition of 350 + 35 EAH: 53 cm - 20.9 in.

Triumphant Angel, 1976 (first cast in 1984)


H: 50 cm - 19.7 in.

Price on request

Dalí and Gala were notorious creators of the esoteric, feeding off each other in search of divine

truths and alternate meanings. Gala especially had a thirst for the tarot, and would often pull out

a deck of cards during social gatherings in her castle. In tribute to his beloved, Dalí created a deck

of 78 tarot cards that was released shortly before his 80th birthday. In this unique deck, Dalí moves

away slightly from the traditional delineation of the cards to create a pastiche of artistic influences

including Surrealism, Traditionalism, Christian iconography, Pop Art and Kitsch.

Dating back to the Renaissance, tarot readings were widely practiced in esoteric circles in Europe at

the turn of the 20th century. Though disputed as more parlor entertainment than true divination, the

secret society of men and women who contributed to the spread of Western occultism nevertheless

utilized the tarot as part of their quest for self-actualization. Traditional decks of 78 tarot cards are

split into two groups: Major Arcana, which houses 22 archetypical ‘trumps’ such as the lover, the

wizard, the fool, the mood and death; and Minor Arcana, which is divided into cups, pentacles,

swords and wands. Each suit has a corresponding illustrated image that relates to its suit, royalty and

number. Interpreting the meaning of upturned cards in relation to the person sitting before them,

trained readers of the tarot could offer insight and knowledge into the future.

Gili KarevCurator

Tarot Deck, ‘Le Tarot universel de Salvador Dalí’ project

56

VIIII, The Hermit, Neptune Astrological Sign, 1971Signed ‘Dalí’ (uper centre)Gouache on photo paper30.9 x 23.8 cm - 12.2 x 9.4 in.

Price on request

CertificateRobert & Nicolas Descharnes have confirmed the authenticity of this workThis work is registered in the Archives Descharnes under the reference No. d4818

58

Ace of Swords, Minor Arcana, 1971Signed ‘Dalí’ (lower left)Gouache on photo paper30.8 x 23.8 cm - 12.2 x 9.4 in.

Price on request

CertificateRobert P. & Nicolas R. Descharnes have confirmed the authenticity of this workThis work is registered in the Archives Descharnes under the reference No. d4860

Six of Pentacles, Minor Arcana, 1971Signed ‘Dalí’ (centre)Gouache on photo paper30.8 x 23.9 cm - 12.2 x 9.4 in.

Price on request

CertificateRobert P. & Nicolas R. Descharnes have confirmed the authenticity of this workThis work is registered in the Archives Descharnes under the reference No. d4879

‘Painting is an infinitely minute part of my personality.’

60

David Mach, The Ring Master, 2010Courtesy of the artist

62 63

1940 Dalí creates his first painting in exile to the United States, Daddy Longlegs of the Evening-Hope, which becomes the first work acquired by Dalí Museum founders.

1942 The Secret Life of Salvador Dalí biography is published by New York’s Dial Press.

1943 Dalí meets Eleanor and Reynolds Morse, who would later found the Dalí Museum.

1948 Dalí and Gala return to Europe after the war.

1950 Dalí’s father dies.

1951 Dalí writes Mystical Manifesto, in which he describes his artistic transformation following the atomic bomb drop on Hiroshima.

1961 Begins creating the Teatro-Museo Dalí in Figueres, in the building where he held his first exhibition.

1966 The Morses lent 135 works to the Salvador Dalí retrospective in NYC’s Gallery of Modern Art.

1969 Begins painting The Hallucinogenic Toreador, a masterpiece of double imagery and visual illusion.

1971 The Morses open their collection to the public in Ohio as the first Dalí Museum.

1974 The Teatro-Museo Dalí opens in Figueres, Spain.

1975 Dalí paints what is considered his final masterwork, a staggering visual illusion entitled Gala Contemplating the Mediterranean Which at Twenty Meters Becomes the Portrait of Abraham Lincoln.

1982 The Morses inaugurate the Dalí Museum in St. Petersburg, Florida. Dalí paints his final painting, The Swallow’s Tail, based on René Thom’s mathematical catastrophe theories. Gala dies at the Pubol castle that Dalí had bought and remodelled for her.

1983 The Gala-Salvador Foundation is established to protect the estate of the painter.

1989 Dalí dies and is buried in a crypt under the Teatro-Museo Dalí’s geodesic dome in Figueres, Spain.

1904 Salvador Felipe Jacinto Dalí is born in Figueres, Spain to Salvador and Felipa Dome, nine months after the death of his older brother, also named Salvador.

1908 Dalí’s sister, Ana Maria, is born.

1914 Dalí paints one of his earliest known works, Landscape, revealing a technical sophistication far beyond his years.

1916 Enrols in drawing school in Figueres and studies with Ramón Pichot, a local Impressionist painter who becomes his teacher and mentor.

1919 Has his first public exhibition as part of a group show at the Municipal Theatre of Figueres.

1922 Enrols in Madrid’s prestigious San Fernando Academy of Fine Arts.

1925 Expelled from Art School for insubordination.

1926 Visits Paris for the first time and meets his hero, Pablo Picasso.

1928 Exhibited Basket of Bread at the Carnegie Museum of Art in Pittsburgh, Philadelphia, gaining his international acclaim.

1929 Meets and falls in love with Gala, the then-wife of Surrealist poet Paul Eluard. Officially joins the Surrealist movement and creates avant-garde film Un Chien Andalou with Luis Buñuel.

1931 Paints Persistence of Memory with his iconic melting watches, representing how all things are destructible.

1934 Reveals his three-dimensional work entitled Rainy Taxi.

1936 Dalí and Gala wed in civil ceremony. Appears on the cover of Time Magazine wearing a diving suit, photographed during his lection at London’s first International Surrealism Exhibition.

1938 Creates Lobster Telephone sculpture, which became a popular symbol of Surrealist Art.

1939 Designs the Dream of Venus pavilion for the World Fair in New York. André Breton, French poet, critic and leader of the Surrealist movement, removes Dalí from the Surrealists on the grounds that his money-loving antics had overshadowed the philosophies of the group.

Biography

operagallery.com

Supported by

Salvador Dalí - Opera Gallery · 5 — ‘Each morning when I awake, I experience again a supreme...

Documents

Transcript of Salvador Dalí - Opera Gallery · 5 — ‘Each morning when I awake, I experience again a supreme...