Unparalleled collection of Salvador Dali art works » Exhibits http://thedali.org The Dali Museum, St. Petersburg, FL | Mon, 21 Jul 2014 15:12:59 +0000 en-US hourly 1 http://wordpress.org/?v=3.9.1 Marvels of Illusion http://thedali.org/exhibit/marvels-illusion-2/?utm_source=rss&utm_medium=rss&utm_campaign=marvels-illusion-2 http://thedali.org/exhibit/marvels-illusion-2/#comments Fri, 13 Jun 2014 16:30:21 +0000 http://thedali.org/?post_type=exhibit&p=1737 Marvels of Illusion offers a sensational optical and intellectual experience delving into the world of double images and illusions.

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Marvels of Illusion offers a sensational optical and intellectual experience delving into the world of double images and illusions. This special exhibition showcases a variety of Dali paintings, prints and sculpture; a special work from the 16th Century from the School of Arcimboldo, on loan from the Ringling Museum; and rich explanatory material.

A centerpiece of the Marvels of Illusion exhibit is an interactive installation titled “Gala Contemplating You” which places visitors inside one of Dali’s most famous paintings. The installation is inspired by Dali’s 1976 painting “Gala Contemplating the Mediterranean Sea Which at Twenty Meters Becomes the Portrait of Abraham Lincoln (Homage to Rothko),” which proved that 121 pixels could identify a particular human face. A corresponding web application allows virtual visitors from around the globe to submit their photos and become part of the experience as well.

The exhibit promises to entertain and fascinate people of all ages – visitors will not only come to the Museum, they will become part of it.

Featured Video

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Warhol: Art. Fame. Mortality. http://thedali.org/exhibit/warhol-at-the-dali/?utm_source=rss&utm_medium=rss&utm_campaign=warhol-at-the-dali http://thedali.org/exhibit/warhol-at-the-dali/#comments Sun, 01 Jun 2014 10:46:41 +0000 http://thedali.org/?post_type=exhibit&p=82 "Warhol: Art. Fame. Mortality." explores how Andy Warhol learned from Dali's public visibility and was equally attuned to the images derived from mass culture. The exhibit considers Warhol's seldom discussed engagement with other artists through his own painting, how he constructed an approach to the image in terms of celebrity and fame, and finally his treatment of painting and image as it pertains to human mortality.

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About the Exhibit
“Warhol: Art. Fame. Mortality.” explored how Andy Warhol learned from Dali’s public visibility and was equally attuned to the images derived from mass culture. The exhibit considered Warhol’s seldom discussed engagement with other artists through his own painting, how he constructed an approach to the image in terms of celebrity and fame, and finally his treatment of painting and image as it pertains to human mortality.

“Warhol: Art. Fame. Mortality.” showcased more than 100 works, including paintings, screen prints, photographs, and a selection of Warhol films and screen tests featuring the likes of Salvador Dali, of course, as well as other artists. Visitors will get the chance to experience “15 minutes of fame” when they star in their own screen-test video which will be emailed to them to save and share.

Dali and Warhol
“Warhol and Dali lived in New York City at the same time. The photos of the two of them suggest a certain reticence. Perhaps they knew how much alike they were. Artistically they are of the same species – both radical. If Dali is radical in the way he delivered his subject of the changeable self through many media – painting, sculpture, film, and language – Warhol is radical in allowing media to provide his subject – faces from the tabloids and glossy magazines, products from the catalog of the American consumer. If Dali used popular media to present his vision of the dream world, Warhol used popular media as the subject of his art. Warhol was one of the American artists most marked by the legacy and model of Salvador Dali.”

- Dr. Hank Hine, Executive Director of The Dali

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Also, check out the Screen Test video highlights!  

 

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Santiago El Grande, Salvador Dali (1957) http://thedali.org/exhibit/santiago-el-grande-2/?utm_source=rss&utm_medium=rss&utm_campaign=santiago-el-grande-2 http://thedali.org/exhibit/santiago-el-grande-2/#comments Mon, 05 May 2014 13:21:09 +0000 http://thedali.org/?post_type=exhibit&p=1487 This monumental canvas, measuring in at 13 feet high, is a triumphant rendering of Saint James the Great (Santiago El Grande in Spanish), the patron saint of Spain, rising from the sea astride a white stallion and brandishing an oversized crucifix. An atomic explosion bursting from the four petals of a jasmine flower – a […]

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This monumental canvas, measuring in at 13 feet high, is a triumphant rendering of Saint James the Great (Santiago El Grande in Spanish), the patron saint of Spain, rising from the sea astride a white stallion and brandishing an oversized crucifix. An atomic explosion bursting from the four petals of a jasmine flower – a symbol of purity and one of the artist’s favorite aromas (a personal reference amidst an iconography that is otherwise rooted in Spanish tradition) – raises the steed toward heaven. There are numerous other elements in the painting which reinforce the narratives of religiosity and nationalism.

The Santiago El Grande was on loan from the Beaverbrook Art Gallery in Fredericton, New
Brunswick, Canada.

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Picasso / Dali, Dali / Picasso http://thedali.org/exhibit/picasso-dali-dali-picasso/?utm_source=rss&utm_medium=rss&utm_campaign=picasso-dali-dali-picasso http://thedali.org/exhibit/picasso-dali-dali-picasso/#comments Thu, 01 May 2014 16:25:02 +0000 http://thedali.org/?post_type=exhibit&p=1656 The exhibition “Picasso / Dali, Dali / Picasso” promises to be an international blockbuster for both museums as it will feature rarely loaned works from more than 25 international art museums and private collections worldwide pairing works of these leading artists of our era.

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The exhibition “Picasso / Dali, Dali / Picasso” promises to be an international blockbuster featuring rarely loaned works from more than 25 international art museums and private collections worldwide pairing works of these leading artists of our era. Dozens of works – with a focus on paintings, and also featuring drawings, prints and sculpture – will be on display exclusively at The Dali Museum St. Petersburg, FL and the Museu Picasso, Barcelona.

“This Picasso exhibition offers the possibility of rereading the relationship between two key figures of twentieth-century art and exploring new interpretations of the period in which their lives and works intersected,” explained Dali Museum Director Dr. Hank Hine. “Both of our permanent collections are made up of works by arguably the two most influential 20th century Spanish artists. We are honored to collaborate with Barcelona’s Museu Picasso and our enduring partners at the Fundació Gala-Salvador Dali.”

The Dali Museum will host a variety of fundraising events and private viewings starting November 1st and leading up to the public grand opening in St. Petersburg, FL on Saturday, November 8th at 10am.

More information is available in our press release.

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Eggs on the Plate without the Plate http://thedali.org/exhibit/eggs-plate-without-plate/?utm_source=rss&utm_medium=rss&utm_campaign=eggs-plate-without-plate http://thedali.org/exhibit/eggs-plate-without-plate/#comments Thu, 01 May 2014 03:48:46 +0000 http://thedali.org/?post_type=exhibit&p=579 Date: 1932 Material Used: Oil on canvas Size: 23 3/4 x 16 1/2 inches The absurd title of this work is a clue to the irrational nature of the world presented in the canvas, where unusual still-life objects pull the viewer’s eye to the unnaturally glowing sky. As a Surrealist, Dali was open to making […]

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Date: 1932
Material Used: Oil on canvas
Size: 23 3/4 x 16 1/2 inches

The absurd title of this work is a clue to the irrational nature of the world presented in the canvas, where unusual still-life objects pull the viewer’s eye to the unnaturally glowing sky. As a Surrealist, Dali was open to making dreamlike associations, and his comments about this work demonstrate the source of its imagery.

The most startling assertion is that Eggs on the Plate… was inspired by an “intra-uterine memory.” According to the artist, he remembered his existence in the womb “as though it was yesterday.” All his pleasure was in his eyes, he said, and the most splendid vision he had while in the womb was that of “a pair of eggs fried in a pan without a pan.” In the painting, Dali has reproduced this vision and the colors he saw: “red, orange, yellow, and bluish, the color of flames.” Above the two fried eggs on a plate, a third egg dangles, suspended on a string. This resembles an embryo, which we can assume is the artist’s self-portrait in the womb, the string doubling as his umbilical cord, which connects him to his mother.

Dali made another unexpected association with the two fried eggs on the plate. He wanted to pay homage to his beloved Gala, but instead of a conventional portrait, he chose to depict the two egg yolks on the plate with a passion that suggested two staring eyes. Gala inspired many Surrealists. Her power resided in her gaze, which her first husband Paul Éluard described as so intense “…it could pierce walls.” In this work, the two eggs stare at us like Gala’s eyes, a surreal tribute to her power.

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Apparatus and Hand http://thedali.org/exhibit/apparatus-hand/?utm_source=rss&utm_medium=rss&utm_campaign=apparatus-hand http://thedali.org/exhibit/apparatus-hand/#comments Mon, 31 Mar 2014 03:43:16 +0000 http://thedali.org/?post_type=exhibit&p=573 Date: 1927 Material Used: Oil on panel Size: 24 1/2 x 18 3/4 inches Dali is best known as a Surrealist. The Surrealists founded their work on the ideas of Sigmund Freud, the father of psychoanalysis. For Dali, Freud’s influence began prior to joining the group in 1929. As students in Madrid, Dali and his […]

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Date: 1927
Material Used: Oil on panel
Size: 24 1/2 x 18 3/4 inches

Dali is best known as a Surrealist. The Surrealists founded their work on the ideas of Sigmund Freud, the father of psychoanalysis. For Dali, Freud’s influence began prior to joining the group in 1929. As students in Madrid, Dali and his friends read Freud’s work. He says he was “seized with a real vice of self-interpretation, not only of my dreams but of everything that happened to me, however accidental it might seem….”

With its dreamlike symbols, Apparatus and Hand is the first work in the museum’s collection in which Dali began applying Freud’s ideas about dream analysis to his work. In a vivid blue landscape, a machine-like apparatus rises over a scene of disconnected images. Crowned by a red-skinned hand, its unbalanced arrangement appears ready to topple, evoking the unsettling feeling of a dream. The shadow cast by the apparatus suggests a person standing with a cane. Swarming around the apparatus are delirious images of desire and fear. These include floating female anatomy, an angular female bather, a red fish and fish bones, and a donkey filled with flies. Dali’s symbols in his early work are not always clearly defined. If the apparatus symbolizes a person, perhaps the female images are symbols of desire, and the dead donkey and fish skeleton are warnings of the consequences of acting on that desire. This painting’s use of symbols foretells the style that would make Dali an international success in the 1930s.

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Weaning of Furniture Nutrition http://thedali.org/exhibit/weaning-furniture-nutrition/?utm_source=rss&utm_medium=rss&utm_campaign=weaning-furniture-nutrition http://thedali.org/exhibit/weaning-furniture-nutrition/#comments Sun, 23 Mar 2014 04:10:06 +0000 http://thedali.org/?post_type=exhibit&p=602 Date: 1934 Material Used: Oil on canvas Size: 7 x 9 1/2 inches This is one of Dali’s most subtle but successful Surrealist works. With precise realism inspired by one of his greatest influences, the Dutch artist Jan Vermeer, Dali creates a painting that looks like a hand-tinted photograph of something impossible. This small panel […]

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Date: 1934
Material Used: Oil on canvas
Size: 7 x 9 1/2 inches

This is one of Dali’s most subtle but successful Surrealist works. With precise realism inspired by one of his greatest influences, the Dutch artist Jan Vermeer, Dali creates a painting that looks like a hand-tinted photograph of something impossible. This small panel portrays a woman sitting on the beach in front of Dali’s house. However, the woman has a hole in her body, eliminating any possibility of reality.

The title is the key to understanding this painting, which illustrates the concept of the word “weaning.” “To wean” means to take a person away from his attachments, like a nanny weaning a child away from his mother. The woman is Dali’s childhood nanny, Llucia. Here she sits in a pose assumed for centuries by fishermen’s wives, mending nets while their husbands are at sea. Llucia has been “weaned” from Dali’s memories and placed in the artist’s present.

As a child, Dali associated his bedroom furniture and surroundings with his nanny. Like jigsaw puzzle pieces, he “weans” his childhood night table and a smaller table out of her body, suggesting that his nanny and these objects were two parts of the same memory. Their removal creates a void requiring a crutch for Dali’s absent nanny’s support. Dali offered the following description of this work: “The absence of a beloved person leaves a sentimental void in us.”

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View of Cadaques with Shadow of Mount Pani http://thedali.org/exhibit/view-cadaques-shadow-mount-pani/?utm_source=rss&utm_medium=rss&utm_campaign=view-cadaques-shadow-mount-pani http://thedali.org/exhibit/view-cadaques-shadow-mount-pani/#comments Sun, 23 Mar 2014 04:09:20 +0000 http://thedali.org/?post_type=exhibit&p=601 Date: 1917 Material Used: Oil on burlap Size: 15 1/2 x 19 inches A favorite place from Dali’s childhood, Cadaqués is the picturesque Mediterranean village where his family had its summer home. It is also where Dali fell in love with painting. In 1919, a young Dali proclaimed in a letter: “I have had a […]

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Date: 1917
Material Used: Oil on burlap
Size: 15 1/2 x 19 inches

A favorite place from Dali’s childhood, Cadaqués is the picturesque Mediterranean village where his family had its summer home. It is also where Dali fell in love with painting. In 1919, a young Dali proclaimed in a letter: “I have had a wonderful time, as always, in this ideal and fantastic village of Cadaqués; there, at the side of the Latin sea, I have quenched my desire for light and color; I have spent the sultry summer days, painting like mad, trying to translate the incomparable beauty of the sea and sun-beaten shore.”

Few works capture Dali’s youthful enthusiasm for landscape painting better than View of Cadaqués. Created when the artist was just thirteen, this painting reveals both his love for the Mediterranean landscape, which appears throughout his career, and his enthusiasm for physically working with paint. Peering down on the village from the steep perspective of Mount Pani, Dali layers dabs of paint in a white arc to suggest the clustering of whitewashed buildings around the Bay of Cadaqués, transformed by a radiant pink sky. The shadow of Mount Pani is just about to reach the houses.

The work has an unusual texture because it is painted on rough burlap, the material fishermen used to keep their wooden boats moist. The Dali family home, unseen but located just to the left of the large pine, was on the beach where fishermen moored their fishing boats. Cape Creus, whose startling rock forms were a major influence on Dali’s surreal paintings, appears at the top of the canvas just under the pink horizon.

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Venus with Drawers and Pompoms http://thedali.org/exhibit/venus-drawers-pompoms/?utm_source=rss&utm_medium=rss&utm_campaign=venus-drawers-pompoms http://thedali.org/exhibit/venus-drawers-pompoms/#comments Sun, 23 Mar 2014 04:07:17 +0000 http://thedali.org/?post_type=exhibit&p=600 Date: 1936 Material Used: Plaster cast Size: 39 1/2 x 11 5/8 x 11 inches As a child, Dali’s first sculpture was a clay copy of the Venus de Milo. He later recalled, “My first experience as a sculptor gave me an unknown and delicious erotic joy.” The original Venus de Milo, now on display […]

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Date: 1936
Material Used: Plaster cast
Size: 39 1/2 x 11 5/8 x 11 inches

As a child, Dali’s first sculpture was a clay copy of the Venus de Milo. He later recalled, “My first experience as a sculptor gave me an unknown and delicious erotic joy.” The original Venus de Milo, now on display at the Louvre Museum, is one of the most famous works of Greek antiquity, a marble sculpture of the goddess of love. This armless figure has become the icon of classical female beauty. The goddess Venus held a great attraction for Dali, who returned to her throughout his career. She is the focus of his 1939 Dream of Venus Pavilion at the World’s Fair, where the viewer is invited to walk through her dreams. In The Hallucinogenic Toreador of 1969, shadows across her body become the source for an illusion of a bullfighter’s face. In a 1973 hologram, she appears as musician Alice Cooper’s microphone.

For this 1936 Surrealist object, Dali cuts six drawers into Venus, transforming the Greek goddess into a piece of living furniture, a visual pun on the phrase “chest” of drawers, also known as a bureau. Her simple, white surface, is complemented by elegant fur knobs, a tribute to her beauty and erotic potential. In addition, the drawers are a metaphor for the way Freudian psychoanalysis opens the hidden areas of the unconscious. In Dali’s words, “Freud discovered the world of the subconscious on the tumid surfaces of ancient bodies, and Dali cut drawers into it.”

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Hologram: First Cylindric Chromo-Hologram Portrait of Alice Cooper’s Brain http://thedali.org/exhibit/hologram-first-cylindric-chromo-hologram-portrait-alice-coopers-brain/?utm_source=rss&utm_medium=rss&utm_campaign=hologram-first-cylindric-chromo-hologram-portrait-alice-coopers-brain http://thedali.org/exhibit/hologram-first-cylindric-chromo-hologram-portrait-alice-coopers-brain/#comments Sun, 23 Mar 2014 04:06:21 +0000 http://thedali.org/?post_type=exhibit&p=599 Date: 1973 Material Used: Hologram Size: 68 x 25 1/2 x 25 1/2 inches Throughout his career, Dali wanted to be more than just a traditional oil painter. He accomplished this in two ways – by experimenting with the visual image and by working in other media. Through such non-painterly projects as writing, filmmaking, fashion […]

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Date: 1973
Material Used: Hologram
Size: 68 x 25 1/2 x 25 1/2 inches

Throughout his career, Dali wanted to be more than just a traditional oil painter. He accomplished this in two ways – by experimenting with the visual image and by working in other media. Through such non-painterly projects as writing, filmmaking, fashion design, and object construction, Dali broadened his perspective on art. Trained as a painter, new ideas from other media inspired Dali’s painting. For example, Dali’s creative artists’ primer The 50 Secrets of Magic Craftsmanship led him to explore science more fully in his paintings in the 1950s. As a painter, Dali questioned the traditional ways in which an image represents a subject. Experiments such as the double image allowed Dali to make an object become something completely different, undermining stability and adding a level of chaos to his work.

In the early 1970s, Dali again looked beyond painting for inspiration. He was one of the first artists to explore holography, a photographic medium using lasers to record an object so that it can reappear as a three-dimensional image. Dali was completely captivated by this idea for it allowed him to create an image in three dimensions where he could be in front of and behind his subject. One of Dali’s most successful experiments was his Alice Cooper hologram. Working with artist holographer Selwyn Lissack, Dali created a rotating three-dimensional image of the rock star. Here Cooper either sings into or bites off the head of a “shish kebabbed” Venus de Milo statue. Cooper wears a real diamond tiara, and there is a plaster brain stuffed with a chocolate éclair and real ants suspended behind his head. Cooper’s concerts featured guillotines, electric chairs, and plenty of fake blood. His performances appealed to Dali who said that Cooper was “the best exponent of total confusion I know.” Perhaps this hologram captures this confusion in a way that Dali’s oil paintings never could.

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