X
3
ok
View My Favorites

Salvador Dali paintings Sell & Buy Salvador Dali Artworks

To buy & sell Dali paintings or ask for authentication

& appraisal, please send information to us by email.

Art Association of Modern Artists (AMA Art) is an

organization that founded by a group of intellectual

owners of some modern artists. The purpose of AMA Art is

both helping the owners to sell originals and     ...   More.

  • Sell Your Salvador Dali Paintings!
  • Connect with Buyers Worldwide!
  • Get Information You Need!
  • Collect Dali Originals!
  • Authentication & Appraisal of Painting Dali!
  • Custom Art in Any Sizes!

Help You Sell and Buy Salvador Dali's Paintings!

  • Salvador Dali clocks
  • Salvador Dali elephant
  • Dali famous paintings
  • Salvador Dali artwork
  • Salvador Dali paintings
  • Salvador Dali works
Dali Art for Sale!
Dali elephant
Salvador Dalí, 1904-1989, was a prominent Spanish Catalan surrealist painter, best known for the striking and bizarre images in his surrealist work.
His eccentric manner and attention-grabbing public actions sometimes drew more attention than Dali art. The largest collections of Dali paintings and portraits are at the Dalí Theatre and Museum in Figueres, Spain; followed by the Salvador Dalí Museum in St. Petersburg, it holds over 1,500 Dali oil paintings. Other significant collections include the Reina Sofia Museum in Madrid and the Salvador Dalí Gallery in Pacific Palisades, California.
Dali œuvres
Salvador Dalí, 1904-1989, est un peintre surréaliste catalan de nationalité espagnole connu pour ses images saisissantes et bizarres dans ses œuvres surréalistes.
Son comportement excentrique et remarquable en public a parfois attiré plus d'attention que Dali art. Les plus grandes collections de peintures de Dalí sont au Théâtre-musée Dalí de Figueras, Catalogne, Espagne, suivie par le Salvador Dalí Museum de St. Petersburg en Floride. Il détient plus de 1500 peintures à l'huile de Dalí. Autres organisation des collections importantes comprennent le Musée Reina Sofia à Madrid et la Galerie Salvador Dalí à Pacific Palisades en Californie.
Dali uhren
Salvador Dalí, 1904-1989, war spanischer Maler aus Katalonien. Seine surrealistischen Werke waren berühmt für ihre eigentümlichen, fantastischen Kreaturen.
Gelegentlich schenkten Mitmenschen seinem kuriosen Verhalten mehr Aufmerksamkeit als seiner Kunst. Der Großteil seiner Gemälde wird heute im Institut Figueres des Dalí Theatre and Museum aufbewahrt. Das Dalí Theatre and Museum in St. Petersburg kommt mit mehr als 1,500 Dalís Ölgemälden auf dem zweiten Platz. Andere bekannte Instituten sind Reina Sofia Museum in Madrid und Salvador Dalí Gallery in Pacific Palisades.
達利 時鐘
萨尔瓦多•达利(西班牙语Salvador Dalí), 1904-1989,著名的西班牙加泰罗尼亚超现实主义画家,因其超现实主义作品所塑造的引人注目的奇异形象而出名。
有时他在公开场合古怪、吸引眼球的行为比达利艺术本身更受关注。收藏达利绘画اللوحات الفنية 最多的机构是菲格雷斯的达利戏剧博物馆。圣彼德斯堡的萨尔瓦多•达利博物馆则紧随其后,藏有不下1500幅达利油画。其他较为显著的收藏机构是马德里的雷纳索非亚博物馆和加利福利亚太平洋帕利塞德的萨尔瓦多•达利画廊。
Click to Retract More About Salvador Dali

The copyright of scripts in this website is owned by Salvador-Dali-Paintings.us.

Salvador Dalí (Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Pubol) was born May 11th 1904 in Spain. He is not your normal artist, and both in career and personal life was known to be highly eccentric. This behavior showed most in Salvador Dalí paintings which was always something special, even when it was a minor drawing. Because he had such a huge personality as andy warhol, Dali was big across several movements, including Renaissance. Film, landscape paintings, sculpture, oil painting, and even photography were all his stomping grounds when it came to creativity. A celebrity in every sense of the word, Salvador Dalí was such a showman that he would have been famous in any era. Gala Dalí was both his agent, muse and wife for many years until her death. Having just as huge a personality as Dali, Gala had the personal life of legends, challenging even the greats like Marilyn Monroe. She was the sole inspiration and model for Salvador Dali artworks such as Elephant, animals, clocks, ‘The Madonna of Port Lligat’, ‘Imperial Monument to the Child-Woman’, ‘Galatea of the Spheres’, ‘The Ecumenical Council’ and many others. Dali was a one of a kind painter different with tamara de lempicka and edward hopper that had the talent to match his very out of this world works of art.
Salvador Dali œuvres d'art

Salvador Dalí Information & Gala Dali

Dali is the epitome of creativity, a surrealist painter that didn’t just limit himself to a canvas. Considered by many to be the stereotypical eccentric painter, concentrating on his public behavior rather than his art would be a great disservice. Serving as the inspiration for many writers and artists, Gala Dali was introduced into his life during 1929 when she was still married to fellow painter Paul Éluard. After the souring of their marriage like diego rivera and frida kahlo, it was soon after that Salvador and Gala became an item, much to the dismay of Salvador’s father. It ended with Salvador’s father disinheriting him and throwing him from their home, due to a shift in each other’s morals as toperfect reviews. They spent some time apart and Salvador grew closer to Gala, and eventually Dali and his father made up as he saw the same love for Gala that his son did. In 1934, the two finally married unofficially and remarried officially in a Catholic ceremony in 1958.
Gala became much more than Salvador’s soulmate and muse at this point, and even became successful as his business manager, that's different with norman rockwell. Gala was indeed one of the strongest women of her time, and was secure with her role in the relationship despite Salvador’s infidelity with younger muses. But the way Salvador continued to paint his wife was completely different than the other women, and the difference in love can be seen with Salvador Dali paintings. In a relationship that lasted over 50 years, it became quite famous as the plot of an opera titled Jo, Dali. Gala doesn’t get enough recognition for her role in Salvador’s life, as a strong woman and as an inspiration to his art.
Dali peinture werke

Analysis of Dali Paintings

Not afraid of taking any chances Salvador Dali has an impressive list of diverse work. ‘Design for Set Curtain for Labyrinth’ is a frightening oil painting that does not shy away from details. Using dark colors and an unforgettable setting, it looks like the entrance to a haunted house at an expensive amusement park. This Dali oil painting holds up well in the present day, even though it was made in 1941. Having a very Tim Burtonesque feel to toperfect.com reviews,, it’s no surprise that many have incorporated the idea of this painting Dali into other media.
Not one to shy away from religion, he created a series of religious Salvador Dali works that are hard to forget. ‘Antequam exhires de vulva sactificavite’ is from Jerimiah 1:5 with figures in the canvas art that can be interpreted in multiple ways. From the pointed eyes in the background to the wings that could very well be the eyes, it is a riddle within a riddle. Famous oil painters of contemporary art for sale are henri matisse, marc chagall. ‘Assuerus Falls in Love with Esther’ from Esther 2:17 took 3 years to finish but is very much the best work of religious artwork using a lot of imagination he created an image that may very well haunt the dreams of those who witness it in person. Combining the faces of an older man and a younger woman, it is the perfect mashup and a proper summary of the passage it was created from. The most colorful of the series comes from ‘Vanitas vanitatum’ which is from Ecclesiastes 1:12f. The man in the Salvador Dali oil painting reproduction is very much a king like rene magritte, so it is appropriately painted with the various emotional turmoil associated with kings of that time. These were all from the Biblia Sacra series, one of the greatest paintings for sale of all time.
Dali paintings

List of paintings famous as Dali art are: The Scream Starry Night Van Gogh, Picasso Guernica .
One of Dali famous paintings besides Persistence Of Memory that went largely unappreciated was ‘The Seven Arts’, heavily influenced by the Japonism movement. As the movement also influenced popular artists like Van Gogh, seeing as how this was the only creation of Dali within this realm makes it a rare treat as toperfect.com reviews & complaints. Even with his many out of this world creations, this one stands on its own and is truly one of a kind.
But Dali wasn’t just about being different and shock value, and that can be seen with his paintings in the Realism movement. ‘Figure at a Window’ is a touching and beautiful painting Dali completely different than his other artworks paintings. The normalcy doesn’t hide the fact that Dali had impeccable technique. The lady standing looking outside of the window has a great view, and when looking at the Salvador Dali animals painting it almost feels as though you are looking through the window with her. His best work with Realism as jack vettriano however stops and starts with the firmly named ‘My Wife, Nude, Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky and Architecture’. This 1945 masterpiece would later on become the subject of many studies, as the back of the lady in the Salvador Dali artwork was not only beautiful, but literally a work of art.

More Information about Salvador Dalí Biography


Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Púbol (11 May 1904 – 23 January 1989), known professionally as Salvador Dalí (/ˈdɑːli/; Catalan: [səɫβəˈðo ðəˈɫi]; Spanish: [salβaˈðoɾ ðaˈli]), was a prominent Spanish surrealist artist born in Figueres, Catalonia, Spain.

Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters and masterpieces such as Mona Lisa, The Last Supper. His best-known Dalí work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descended from the Moors.

Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held Dalí work in high esteem, and to the irritation of his critics.

Early life
The Dalí family in 1910: from the upper left, aunt Maria Teresa, mother, father, Salvador Dalí, aunt Caterina (later became second wife of father), sister Anna Maria and grandmother Anna Salvador Domingo Felipe Jacinto Dalí i Domènech was born on 11 May 1904, at 8:45 am GMT, on the first floor of Carrer Monturiol, 20 (presently 6), in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain. In the Summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10). Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.

When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation, a concept which he came to believe. Of his brother, Dalí said, "[we] resembled each other like two drops of water, but we had different reflections." He "was probably a first version of myself but conceived too much in the absolute." Images of his long-dead brother would reappear embedded in later Dalí works, including Portrait of My Dead Brother (1963).

Dalí also had a sister, Anna Maria, who was three years younger. In 1949, she published a book about her brother, Dalí As Seen By His Sister. His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football (soccer) together.

Dalí attended drawing school. In 1916, he also discovered modern Salvador Dalí painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris. The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1919, a site he would return to decades later.

In February 1921, Dalí's mother died of breast cancer. Dalí was 16 years old; he later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul." After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had a great love and respect for his aunt.

Madrid and Paris
Dalí (left) and fellow surrealist artist Man Ray in Paris on June 16, 1934 In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando. A lean 1.72 metres (5 ft 7 3⁄4 in) tall, Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century.

At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca. The friendship with Lorca had a strong element of mutual passion, but Dalí rejected the poet's sexual advances.

However it was Salvador Dalí paintings, in which he experimented with Cubism, that earned him the most attention from his fellow students. His only information on Cubist art had come from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time. In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem Les bruixes de Llers ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced Dalí artwork throughout his life.

Dalí was expelled from the Academy in 1926, shortly before his final exams when he was accused of starting an unrest. His mastery of Salvador Dalí painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926. That same year, he made his first visit to Paris, where he met pablo picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic, to the most cutting-edge avant-garde. His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez. He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of Dalí works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.

Dalí grew a flamboyant moustache, influenced by 17th-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life.

1929 to World War II
In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts. Also, in August 1929, Dalí met his lifelong and primary muse, inspiration, and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. Dalí artwork had already been heavily influenced by surrealism for two years, not The Birth of Venus or Manet Olympia. The Surrealists hailed what Dalí called his paranoiac-critical method of accessing the subconscious for greater artistic creativity.

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Jesus Christ, with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait".

Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on December 28, 1929. His father told him that he would be disinherited, and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He bought the place, and over the years enlarged it by buying the neighbouring fishermen cabins, gradually building his much beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.

The Persistence of Memory (1931).
In 1931, Dalí painted one of his most famous works Melting Clocks, The Persistence of Memory, which introduced a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the Dalí work, such as the wide expanding landscape, and other limp watches shown being devoured by ants.

Dalí and Gala, having lived together since 1929, were married in 1934 in a semi-secret civil ceremony. They later remarried in a Catholic ceremony in 1958. In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of his muse unlike Iris Van Gogh and The Kiss Klimt. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.

Dalí was introduced to the United States by art dealer Julien Levy in 1934. The exhibition in New York of Dalí's works, including Persistence of Memory, created an immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball". He showed up wearing a glass case on his chest, which contained a brassiere. In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act.

While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention". Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism. Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group. To this, Dalí retorted, "I myself am surrealism".

In 1936, Dalí took part in the London International Surrealist Exhibition with Van Gogh Sunflowers and Monet Water Lilies. His lecture, titled Fantômes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet. He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind." In 1936, Dalí, aged 32, was featured on the cover of Time magazine.

Also in 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí became famous for another incident. Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the Museum of Modern Art, featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, Van Gogh Self Portrait, Creation of Adam, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made", he said. "I never wrote it down or told anyone, but it is as if he had stolen it". Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!"

In this period, Dalí's main patron in London was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.

Meanwhile, Spain was going through a civil war (1936-1939), with many artists taking a side or going into exile.

In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig. Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others that "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.

Later, in September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous Salvador Dalí paintings he later exhibited at Julien Levy Gallery in New York, as famous as Girl With A Pearl Earring and Cafe Terrace at Night. At the end of the 20th century, "La Pausa" was partially replicated at the Dallas Museum of Art to welcome the Reeves collection and part of Chanel's original furniture for the house.

Also in 1938, Dalí unveiled Rainy Taxi, a three-dimensional artwork, consisting of an actual automobile with two mannequin occupants. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organised by André Breton and Paul Éluard. The Exposition was designed by artist Marcel Duchamp, who also served as host.

At the 1939 New York World's Fair, Dalí debuted his Dream of Venus surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, Las Meninas, Rembrandt Night Watch, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes and Murray Korman. Like most attractions in the Amusements Area, an admission fee was charged.

In 1939, André Breton coined the derogatory nickname "Avida Dollars", an anagram for "Salvador Dalí", a phonetic rendering of the French phrase avide à dollars, meaning "eager for dollars". This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the French Communist Party at the time, Liberty Leading the People, expelled him from their movement. Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead. The Surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death, and beyond.

World War II
In 1940, as World War II tore through Europe, Dalí and Gala retreated to the United States, where they lived for eight years splitting their time between New York and Monterey, California. They were able to escape because on June 20, 1940, they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. Dalí’s arrival in New York was one of the catalysts in the development of that city as a world art center in the post-War years. Salvador and Gala Dalí crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. After the move, Dalí returned to the practice of Catholicism. "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes.

Dalí worked prolifically in a variety of media during this period, designing jewelry, clothes, furniture, from Primavera Botticelli and Impression Sunrise, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window.

Dali spent the winter of 1940-41 in at Hampton Manor, the residence of bra designer and patron of the arts Caresse Crosby, near Bowling Green in Caroline County, Virginia. During his time there, he spent his time on various projects. He was described as a "showman" by residents in the local newspaper.

In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published his autobiography, The Secret Life of Salvador Dalí. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943. Therein he attacked some often-used surrealist techniques by proclaiming, "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique like Dogs Playing Poker have reached their paroxysm in the psychological signification of the current use of the college" (collage). He also wrote a novel, published in 1944, about a fashion salon for automobiles. This resulted in a drawing by Edwin Cox in The Miami Herald, depicting Dalí dressing an automobile in an evening gown.

In The Secret Life, Dalí suggested that he had split with Luis Buñuel because the latter was a Communist and an atheist. Buñuel was fired (or resigned) from his position at the Museum of Modern Art (MOMA), supposedly after Cardinal Spellman of New York went to see Iris Barry, head of the film department at MOMA. Buñuel then went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946. In his 1982 autobiography Mon Dernier soupir (My Last Sigh, 1983), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.

An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947. In 2005, a sculpture of Christ on the Cross was discovered in the friar's estate. It had been claimed that Dalí gave this work to his exorcist out of gratitude, and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.

Later years in Spain
Dalí in 1972
In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades, he would spend most of his time there Salvador Dalí painting, taking time off and spending winters with his wife in Paris and New York. His acceptance and implicit embrace of Franco's dictatorship were strongly disapproved of by other Spanish artists and intellectuals who remained in exile.

In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's Sistine Madonna in the International Surrealism Exhibition in New York the following year.

Late in his career Dalí did not confine himself to Salvador Dalí painting, but explored many unusual or novel media and processes: for example, he experimented with bulletist artworks. Many of Dalí late works incorporated optical illusions, negative space, visual puns and trompe l'œil visual effects. He also experimented with pointillism, enlarged half-tone dot grids (a technique which Roy Lichtenstein would later use), and stereoscopic images. He was among the first artists to employ holography in an artistic manner. In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.

Dalí also developed a keen interest in natural science and mathematics. This is manifested in several of Salvador Dalí paintings, notably from the 1950s, in which he painted his subjects as composed of rhinoceros horn shapes. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary. Dalí was also fascinated by DNA and the tesseract (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus).

At some point, Dalí had a glass floor installed in a room near his studio in Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into Salvador Dalí paintings.:17–18, 172 He also delighted in using the room for entertaining guests and visitors to his house and studio. In many of Salvador Dalí paintings, Dalí used anamorphosis, a form of eccentric and exaggerated perspective which distorts objects beyond recognition; however, when seen from a particular skewed viewpoint, a legible depiction emerges. He used the power of this technique to conceal "secret" or "forbidden" images in plain sight.:20-25

Dalí's post–World War II period bore the hallmarks of technical virtuosity and an intensifying interest in optical effects, science, and religion. He became an increasingly devout Catholic, while at the same time he had been inspired by the shock of Hiroshima and the dawning of the "atomic age". Therefore, Dalí labeled this period "Nuclear Mysticism". In Salvador Dalí paintings such as The Madonna of Port Lligat (first version, 1949) and Corpus Hypercubus (1954), Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics. His Nuclear Mysticism works included such notable pieces as La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).

In 1960, Dalí began work on his Theatre and Museum in his home town of Figueres; it was his largest single project and a main focus of his energy through 1974, when it opened. He continued to make additions through the mid-1980s.

Dalí continued to indulge in publicity stunts and self-consciously outrageous behavior. To promote his 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.

In 1968, Dalí filmed a humorous television advertisement for Lanvin (fr) chocolates. In this, he proclaims in French "Je suis fou du chocolat Lanvin!" ("I'm crazy about Lanvin chocolate!") while biting a morsel, causing him to become cross-eyed and his moustache to swivel upwards. In 1969, he designed the Chupa Chups logo, in addition to facilitating the design of the advertising campaign for the 1969 Eurovision Song Contest and creating a large on-stage metal sculpture that stood at the Teatro Real in Madrid.

In the television programme Dirty Dalí: A Private View broadcast on Channel 4 on June 3, 2007, art critic Brian Sewell described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers.

Final years and death
Church of Sant Pere in Figueres, site of Dalí's baptism, first communion, and funeral Dalí's crypt at the Dalí Theatre and Museum in Figueres displays his name and preferred title In 1968, Dalí had bought a castle in Púbol for Gala; and starting in 1971 she would retreat there alone for weeks at a time. By Dalí's own admission, he had agreed not to go there without written permission from his wife. His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.

In 1980 at age 76, Dalí's health took a catastrophic turn. His right hand trembled terribly, with Parkinson-like symptoms. His near-senile wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity.

In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbol (Marquis of Dalí de Púbol) in the nobility of Spain, hereby referring to Púbol, the place where he lived. The title was in first instance hereditary, but on request of Dalí changed to life only in 1983.

Gala died on 10 June 1982, at the age of 87. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt; there are also claims that he had tried to put himself into a state of suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which was the site of her death and her grave.

In May 1983, Dalí revealed what would be Salvador Dalí last painting, The Swallow's Tail, a Dalí work heavily influenced by the mathematical catastrophe theory of René Thom.

In 1984, a fire broke out in his bedroom under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. Dalí was rescued by friend and collaborator Robert Descharnes and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his Theater-Museum in his final years.

There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals. It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death. As a result, art dealers tend to be wary of late Dalí works attributed to Dalí.

In November 1988, Dalí entered the hospital with heart failure; a pacemaker had been implanted previously. On December 5, 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí. Dalí gave the king a drawing (Head of Europa, which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.

On the morning of 23 January 1989, while his favorite record of Tristan and Isolde played, Dalí died of heart failure at Figueres at the age of 84. He is buried in the crypt below the stage of his Theatre and Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only three blocks from the house where he was born.

The Gala-Salvador Dalí Foundation currently serves as his official estate. The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society. In 2002, the Society made news when it asked Google to remove a customized version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under its protection had been used without permission. Google complied with the request, but denied that there was any copyright violation.

Symbolism
Dalí employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot August day.

The elephant is also a recurring image in Dalí's works. It appeared in his 1944 work Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening. The elephants, inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk, are portrayed "with long, multijointed, almost invisible legs of desire" along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space", one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure." "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." —Salvador Dalí, in Dawn Ades, Dalí and Surrealism.

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love; it appears in The Great Masturbator and The Metamorphosis of Narcissus. The Metamorphosis of Narcissus also symbolized death and petrification. There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat as well as at the Dalí Theatre and Museum in Figueres.

Various other animals appear throughout Dalí work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts are a symbol of waste and fear.

Both Dalí and his father enjoyed eating sea urchins, freshly caught in the sea near Cadaqués. The radial symmetry of the sea urchin fascinated Dalí, and he adapted its form to many art works. Other foods also appear throughout Dalí work.

Politics and personality
Salvador Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both anarchism and communism, though his writings tell anecdotes of making radical political statements more to shock listeners than from any deep conviction. This was in keeping with Dalí's allegiance to the Dada movement.

As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of the Trotskyist writer André Breton, who is said to have called Dalí in for questioning on his politics. In his 1970 book Dalí by Dalí, Dalí declared himself to be both an anarchist and monarchist.

With the outbreak of the Spanish Civil War (1936–1939), Dalí fled from the fighting and refused to align himself with any group. He did the same during World War II (1939–1945), for which he was heavily criticized; George Orwell accused him of "scuttling off like a rat as soon as France is in danger" after Dalí had prospered in France during the pre-war years. "When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near", Orwell observed. In a notable 1944 review of Dalí's autobiography, Orwell wrote, "One ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being".

After his return to Catalonia post World War II, Dalí moved closer to the authoritarian regime of Francisco Franco. Some of Dalí's statements were supportive, congratulating Franco for his actions aimed "at clearing Spain of destructive forces". Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the Republican atrocities during the Spanish Civil War. Dalí sent telegrams to Franco, praising him for signing death warrants for prisoners. He even met Franco personally, and painted a portrait of Franco's granddaughter.

He also once sent a telegram praising the Conducător, Romanian Communist leader Nicolae Ceauşescu, for his adoption of a scepter as part of his regalia. The Romanian daily newspaper Scînteia published it, without suspecting its mocking aspect. One of Dalí's few possible bits of open disobedience was his continued praise of Federico García Lorca even in the years when Lorca's works were banned.

Dalí, a colorful and imposing presence with his ever–present long cape, walking stick, haughty expression, and upturned waxed moustache, was famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí". The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dalí's expensive residence in New York's Plaza Hotel and were startled when Cher sat down on an oddly shaped sexual vibrator left in an easy chair. In the 1960s, he gave the actress Mia Farrow a dead mouse in a bottle, hand-painted, which her mother, actress Maureen O'Sullivan, demanded be removed from her house.

Dali's religious views were a matter of interest. In interviews Dali revealed his mysticism. In his later years, while still remaining a Roman Catholic, Dalí also claimed to be an agnostic.

When signing autographs for fans, Dalí would always keep their pens. Salvador Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France.[114] He was also known to avoid paying tabs at restaurants by drawing on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.

Besides visual puns, Dalí shared in the surrealist delight in verbal puns, obscure allusions, and word games. He often spoke in a bizarre combination of French, Spanish, Catalan, and English which was sometimes amusing as well as arcane. His copious writings freely mixed words from different languages with terms entirely of his own devising.

When interviewed by Mike Wallace on his 60 Minutes television show, Dalí kept referring to himself in the third person, as the "Divino Dalí" (Divine Dalí), and told the startled Wallace matter-of-factly that he did not believe in his death. On January 27, 1957, he was the mystery guest on the US panel show What's My Line? and signed the chalkboard with thick white paint. His answers were misleading and prompted guidance from host Daly.

Dali appeared in public a number of occasions with an anteater, notably on a lead in Paris in 1969 and on the The Dick Cavett Show on March 6, 1970 when he carried a small anteater on-stage. It has been claimed that he surprised fellow guest Lillian Gish by flinging the anteater onto her lap.

Home  |   About AMA  |   Contact Us  |   Terms  |   Sell Your Dali's

Powered by Dali paintings.    Help You Sell and Buy Salvador Dali Artwork!

Copyright © 2003 - .

Share Salvador-Dali-Paintings.us