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At left, Dali One-Eyed, 1953, photo by Philippe Halsman. - Salvador Felipe Jacinto Dali was born in Figueras, near Barcelona, in Spain on May 11, 1904. He was born nine months and ten days after his brother, also called Salvador (Salvador Gallo Anselmo Dali), died at the age of twenty-three months. Dali died on January 23, 1989. |
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At left, this portrait of Gala taken in 1927 served as the frontispiece for La Femme Visble, a work by Dali published in 1930. Beside it is a photograph of Salvador Dali taken at the time of his meeting with Gala in 1929. Dali married Gala on August 8, 1958 in Montregic, Spain. Gala died June 10, 1982 and is interred in the crypt designed by Dali at the castle of Pubol. Dali is interred in his Teatro-Museo in Figueras. |
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At left, Salvador Dali and his father, Don Salvador Dali y Cusi, in 1948. - His father was a lawyer. His mother was Dona Felipa. After his mother died, Dali's father married Dali's mothers sister. "My father was crushed. My expulsion from the Academy of Fine Arts ruined all his hopes of launching me into an official career." |
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Apparition Of Face And Fruit Dish On A Beach, 1938. Oil on canvas, 114.5 x 143.8 cm, Wadsworth Athenum, Hartford, Ella Gallup Sumner and Mary Catlin Sumner Collection. "The Spanish Civil War changed none of my ideas. On the contrary it endowed their evolution with a decisive rigor." |
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Sleep, 1937. Oil on canvas 20 1/8 x 30 3/4 inches (51x78 cm), in a private collection. "Horror and aversion for every kind of revolution assumed in me an almost pathological form. Nor did I want to be called a reactionary. This I was not: I did not react - which is an attribute of unthinking matter." |
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Spain, 1938. Oil on canvas, 36 x 23 1/2 inches (92x60 cm), Museum Boymans-van Beuningen in Rotterdam, Netherland. "For I simply continued to think, and I did not want to be called anything but Dali. But already the hyena of public opinion was slinking around me, demanding of me with the drooling menace of its expectant teeth that I make up my mind at last, that I become Stalinist or Hitlerite. No! No! No! And a thousand of times No!" |
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The Christ Of St. John Of The Cross, 1951. Oil on Canvas 80 1/2 x 45 1/2 inches (205x116 cm), Glasgow Art Gallery and Museum "I was going to continue to be as always and until I died, Dalinian and only Dalinian! I believed neither in the communist revolution nor in the national socialist revolution, nor in any other kind of revolution. I believed only in the supreme reality of tradition." |
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Disintegration Of The Persistence Of Memory, 1952-1954. Oil on Canvas 10 x 13 inches (25.4x33 cm), The Salvador Dali Museum. St. Petersburg, Fl) "If revolutions are interesting it is solely because in revolutionizing they disinter and recover fragments of the tradition that was believed dead because it had been forgotten, and that needed simply the spasm of revolutionary convulsions to make them emerge, so that they might live anew." |
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The First Days of Spring, 1922-23, India ink and watercolour on paper, 8 1/2x6 inches (21.5x15.5 cm), Collection of Ramon Estalella, Madrid, "And through the revolution of the Spanish Civil War there was going to be rediscovered nothing less than the authentic catholic tradition peculiar to Spain." |
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Visage Of War, 1940-41. Oil on canvas, 64 x 79 cm, Museum Boymans-van Beuningen, Rotterdam, formerly Andre' Cauvin Collection, "Spain has always had the honor of offering the world the highest and most violent contrasts. These contrasts in the twentieth century are incarnated by the two personalities of Pablo Picasso and your humble servant." |
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Atmospheric Skull Sodomizing a Grand Piano, 1934. Oil on panel, 5 1/2 x 7 inches (14x17.8 cm), Collection of Mr. and Mrs. A. Reynolds Morse, on loan to The Salvador Dali Museum, St. Petersburg, Florida. "The most important events that may happen to a contemporary painter amount to two: 1. To be a Spaniard; 2. To be called Gala Salvador Dali. Those two things have happened to me." |
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Swans Reflecting Elephants, 1937. Oil on Canvas 20/18 x 30 3/8 in (51.3x77.2 cm), Former collection of the Edward James Foundation, Sussex, now at the Cavalieri Holding Co, Inc., Geneva. "As my christian name Salvador indicates, I am destined to do nothing less than to save modern painting from sloth and chaos." |
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Soft Construction With Boiled Beans: Premonition Of Civil War, 1936. Oil on canvas, 110 x 84 cm (39 3/8 x 39 in), Philadelphia Museum of Art, The Louis and Walter Arensberg Collection. "When I arrived in Paris I painted a large picture which I entitled Premonition Of Civil War. In this picture I showed a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of autostrangulation." |
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The Transparent Simulacrum Of the Feigned Image, 1938; Oil on canvas, 72.5 x 92 cm (28 1/2 x 36 1/4 in), Albright-Knox Art Gallery, Buffalo, NY. "The child king became an anarchist. I was against everything, systematically and on principle. In my childhood I always did things differently from others, but almost without being aware of it." |
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Melancholy, Atomic, Uranic Idyll, 1945. Oil on canvas, 65 x 85 cm, Museo Nacional Reina Sofia, Madrid, Gift of Dali to the Spanish state. "Now, having finally understood the exceptional and phenomenal side of my pattern of behavior I did it on purpose. It was only necessary for someone to say black to make me counter white! It was only necessary for someone to bow with respect to make me spit." |
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Geopoliticus Child Watching The Birth Of The New Man, 1943. Oil on Canvas, 18x201/2 in (45.7x52 cm), Collection of The Salvador Dali Museum, St. Petersburg, Fl. "My continual and ferocious need to feel myself different made me weep with rage if some coincidence should bring me even fortuitously into the same category as others. Before all and at whatever cost: myself myself alone! Myself alone! Myself alone!" |
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The Battle Of Tetuan, 1962. Oil on Canvas 121 x 160 in (308x406 cm), Collection of David Nahonad, Milan. "As the bourgeois son of an attorney in Figueras, I began life with a spectacular betrayal of the class I come from, the bourgeoisie; and ever since, I've always touted the virtues of aristocracy and monarchy. I'm a monarchist in the most absolute sense of the word." |
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Autumn Cannibalism, 1936. Oil on canvas 25 5/8 by 25 5/8 inches. (65.3 x 65.3 cm), Collection of The Salvador Dali Museum, St. Petersburg, Fl. "At the same time, I'm an anarchist; anarchy and monarchy are poles apart and yet they're two of a kind, for both aim at absolute power." |
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The Burning Giraffe, 1936-37. 1936-37. Oil on panel, 35 x 27 cm, Emmanuel Hoffman Foundation, Kunstmuseum, Basle, Switzerland. "Disguise was one of my strongest passions as a child...I received (as if by chance) a gift from one of my uncles in Barcelona a gift which consisted of a king's hermine cape, a gold sceptre and a crown from which hung a solemn and abundant white wig." |
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Masochistic Instrument, 1933-1934. Oil on canvas, 62 x 47 cm, Private Collection, formerly Countess Pecci-Blunt Collection. "That evening I looked at myself in the mirror, wearing my crown, the cape just draped over my shoulders, and the rest of my body completely naked. Then I pushed my sexual parts back out of sight and squeezed them between my thighs so as to look as much as possible like a girl." |
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Apparatus And Hand, 1927. Oil on Panel 20 1/2 x 18 3/4 (52x47.6 cm), Collection of The Salvador Dali Museum, St. Petersburg, Fl. "Already at this period I adored three things: weakness, old age and luxury...The divine Dali is the swine whose snout slobbers and grunts with satisfaction, the unconfessed gourmet, 'dalinise' in Catalan, which means 'possessed with desire' in English, who clears himself a gummy, supergluttonous opening amid the fetid accumulation of ammoniacal hogwash to make his way along the numbing tract of bowel that is the press, radio and television, and all the men and women who extol or execrate Dali - the whole lot being more or less a mash of cybernetic truffles." |
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One Second Before Awakening From A Dream Caused By The Flight Of A Bee Around A Pomegranate, (1944) Oil on canvas, 8 1/4 x 16 1/8 inches (51x41 cm), Private collection, Lugano. "I became, I was and I continue to be the living incarnation of the Anti-Faust... Wretched was he who, having acquired the supreme science of old age, sold his soul to unwrinkle his brow and recapture the unconscious youth of his flesh!" |
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Giant Flying Mocha Cup With An Inexplicable Five Meter Appendage, 1944-45. Oil on canvas, 50 x 31 cm, Private collection, Basel. "I believe I am the savior of modern art, the only one capable of sublimating, integrating, and rationalizing imperially and beautifully all the revolutionary experiments of modern times, in the great classical tradition of realism and mysticism which are the supreme and glorious mission of Spain." |
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Phantom Cart, 1933, Oil on panel, 7 1/2 x 9 1/2 inches, formerly in collection of Edward James Foundation, now in a private collection. "Let the labyrinth of wrinkles be furrowed in my brow with the red-hot iron of my own life, let my hair whiten and my step become vacillating, on condition that I can save the intelligence of my soul - let my unformed childhood soul, as it ages, assume the rational and esthetic forms of an architecture, let me learn just everything that others cannot teach me, what only life would be capable of marking deeply in my skin!" |
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Freud's Perverse Polymorph (Bulgarian Child Eating A Rat), 1939. Gouache on a photograph 40 x 35 cm, Private Collection. "I was definitely not a historic man. On the contrary I felt myself essentially anti-historic and a-political. Either I was too much ahead of my time or much too far behind, but never contemporaneous with ping-pong, playing men." |
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The Sacrament Of The Last Supper, 1955. Oil on canvas 65 5/8 x 105 1/2 inches (166.7 x 267 cm), National Gallery of Art, Washington, Chester Dale Collection. "I sensed the approach of the great armed cannibalism of our history, that of our coming Civil War." |
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Slave Market With The Disappearing Bust Of Voltaire, 1940. Oil on canvas 18 1/4 x 25 3/4 in (46.4x64.5 cm), Glasgow Art Gallery and Museum. "I am called Dali, which means 'desire' in Catalan, and I have Gala. Picasso certainly is Spanish, but of Gala he has only a biological shadow on the corner of his ear, and he is called Pablo, like Pablo Casals, like the popes, that is to say, he has a name like everybody else's." |
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Birth Of A Deity, 1960, Oil on Panel, Private Collection. "For Dali, politics, like everything else, has to be resolved by visceral image. If you look at the eyes of people on the Left, especially the Far Left, you'll notice a kind of white blur on the edges, the so-called rheum. People on the Right, monarchists, and cruel men like Phillip II, stand up straight instead of crawling about and have no physical sign of human sympathy - a totally useless trait." |
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The Hallucinogenic Toreador, 1969-1970. Oil on canvas 157 x 119 in (398.7x302.3 cm), Collection of The Salvador Dali Museum, St. Petersburg, Fl. "Radical Socialists, Communists, and all Left-Wingers have a continuous secretion that forms in the eye and comes from their love of humanity. Oh, how they love humanity!" |
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Dismal Sport, 1929, Oil and Collage on Canvas 39 x 47 1/4 inches. "They (Left-Wingers) harp on it (humanity) constantly. I do respect them because in a monarch's court there have to be a lot of Sartres. And an occasional bomb thrown at the king is desirable from time to time as a stimulus for him...Karl Marx suffered from the same illusions as poor Le Corbusier, whose recent death filled me with an immense joy." |
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The Ghost Of Vermeer Of Delft Which Can Be Used As A Table, 1934. oil on canvas, 7 1/8 x 5 1/2 inches (18.1x14 cm), Collection of Mr. and Mrs. A. Reynolds Morse on loan to The Salvador Dali Museum, St. Petersburg, Florida. "Both of them (Karl Marx & Le Corbusier) were architects. Le Corbusier was a pitiable creature working in reinforced concrete." |
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Mae West's Face Which May Be Used As A Surrealist Apartment, 1934. Gouache over photographic print, 11 1/8 x 7 inches. (28.3x18.8 cm), Gift of Mrs Gilbert W. Chapman in memory of Charles B. Goodspeed, 1949, The Art Institute of Chicago. "Mankind will soon be landing on the moon, and just imagine; that buffoon (Le Corbusier) claimed we'd be taking along sacks of reinforced concrete." |
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Persistence Of Memory, 1932., Oil on canvas, 24 x 33 cm, The Museum of Modern Art, New York. "His (Le Corbusier) heaviness and the heaviness of the concrete deserve one another. Thanks to IBM machines, social classes are going to disappear, and the whole universe will be cuckolded. We are advancing far more heroically to a struggle of the races." |
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Young Virgin Autosodomised By Her Own Chastity, 1954. Oil on canvas, 40.5 x 30.5 cm, Playboy Collection, Los Angeles. "Personnaly, politics have never interested me, and at that moment less than ever, for they were becoming day by day more wretchedly anecdotic and threatened ruin. On the other hand I undertook the systematic study of the history of religions, especially the Catholic religion, which appeared to me more and more as the 'perfect architecture'." |
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Beach Scene With Telephone, 1938. Oil on Canvas 29 x 36 1/4 in (74.2x92.8 cm), Tate Gallery, London. "I began to isolate myself from the group, and to travel constantly: Paris, Port Lligat, New York, back to Port Lligat, London, Paris, Port Lligat. I took advantage of my appearances in Paris to go out into society." |
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Metamorphasis On Narcissuss, 1937. Oil on canvas, 20 1/8x30 3/4 (51.3x78 cm), Tate Gallery, London. "Very rich people have always impressed me; very poor people, like the fisherman of Port Lligat, have likewise impressed me; average people, not at all." |
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Three Young Surrealist Women Holding In Their Arms The Skins Of An Orchestra, 1936. Oil on Canvas 21 1/4 x 25 5/8 in, Collection of The Salvador Dali Museum, St. Petersburg, Fl. "In the course of this first dinner at the Noailles' I discovered two things. First, that the aristocracy - what was then called 'society' - was infinitely more vulnerable to my system of ideas than the artists, and especially the intellectuals." |
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Exploding Head In The Style Of Rafael, 1951. Oil on Canvas 26 x 22 1/2 in (67x57 cm), Collection of Stead H. Stead-Ellis, Somerset, "Indeed 'society people' still wore, clinging to their personalities, the dose of atavism, of civilization, of refinement which the generation of the middle class with advanced social ideas had just joyfully sacrified as a holocaust to the 'young' ideologies with collectivist tendencies." |
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Queen Salome, 1937. Charcoal and Chalk on paper, 63.5 x 93.5 cm, Private Collection, "My position was that happiness or unhappiness is an ultra-individual matter having nothing to do with the structure of society, the standard of living or the political rights of the people." |
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Corpus Hypercubicus, 1954. Oil on canvas, 194.5 x 124 cm, Chester Dale Collection, Metropolitan Museum of Art, New York, "The thing to do was to increase the collective danger and insecurity by total systematic disorganization in order to enhance the possibilities of anguish which, according to psychoanalysis, condition the very principle of pleasure." |
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Portrait Of Paul Eluard, 1929. Oil on cardboard, 33 x 25 cm, Private Collection) "If I hate spinach it is because it's as formless as freedom...The whole pre-war and post-war period is charaterized by the germination of 'isms': Cubism, Dadaism, Simultaneism, Purism, Vibrationism, Orpheism, Futurism, Surrealism, Communism, National-Socialism, among a thousand others." |
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Meditation On The Harp, 1933-1934. Oil on canvas, 67 x 47 cm, Salvador Dali Museum, St. Petersburg, Florida. "Each (ism) has had its leaders, its partisans, its heroes. Each claims the truth, but the sole 'truth' which they have demonstrated is that once the 'isms' are forgotten and how quickly they are forgotten!" |
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Salvador Dali photographed in 1967 in front of the 1895 statue of Ernest Meissonier by Antonin Mercie. "There remains among their (isms) anachronistic ruins only the reality of a few authentic individuals... Dingdong, Dingdong, Dingdong, Dingdong. What is it? It is the clock of history that has rung. What does the clock of history say, Gala?" |
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Memory Of Child-Woman, 1932. Oil on canvas 39 x 47 1/4 in, Collection of The Salvador Dali Museum, St. Petersburg, Fl. "On the dial of the clock of history, after the quarter-hour of the 'isms', the hour of the individual is about to sound! Your hour, Salvador! Dingdong, Dingdong, Dingdong, Dingdong! Post-war Europe was about to croak of the anarchy of 'isms'; of the absence of political, esthetic, ideological and moral rigor." |
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The Temptation Of Saint Anthony, 1946. Oil on canvas, 89.7 x 119.5 cm, Musees' Royaux des Beaux Arts de Belgique, Brussels. "Europe was about to croak of sceptism, arbitrariness, drabness, lack of form, lack of synthesis, lack of cosmogony. Post-war Europe was about to croak of lack of faith." |
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Agnostic Symbol, 1932, Oil on canvas 54.3 x 65.1 cm., Philadelphia Museum of Art. "It (Post-war Europe) thought it knew everything from having tasted the forbidden fruit of specialization. But it believed in nothing and trusted in everything, even in morality and esthetics, in the anonymous flaccidity of the 'Collective'." |
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