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The great genius can be awaken

“It is Sunday afternoon. God takes an infusion of violets for dessert to complete his festive meal, emits vaporizations of an inexpressible sacred odor and summons all the angels to sing their favorite Bach chorus for him. Shortly after Salvador Dalí arrives, with permission from purgatory, arranges his easel and works on the portrait of the Creator.” According to Robert Descharnes, co-author of, “Dalí. L’ oeuvre peint complet”, “Salvador is the only modern painter who has received a commission from God”.

Autumnal Cannibalism. 1936

Dalí was still young when he realized that only by playing to be a genuis he would become one. And he did it. Later on, he would state: “The only difference between me and surrealists is that I am a surrealist”. This was the vision of a man who did not hesitated. From the early years, being a beginning artist still unknown but of amazing skill, juggling impressionism, pointillism, cubism, fauvism, purism and futurism, that is, with all the “isms” predominant at that time, he showed that he was able to master them all, had fun with them and also abandon them. Those roads were already invented, he would persuit his own style.

After several years of friendship with Lorca, of trips and discoveries in Catalonia and Paris, the decisive year for Dalí arrives, 1929. Miró, his european father, had already told him: “The most important thing in life is to be stubborn. If what I want to express does not appear in my paintings, I bang my head against the wall until it bleeds.” Dalí would have exclaimed: “¡The same blood as mine!”. He was eager to stab that sober and intellectual Paris with his collaboration film with Bueñuel, “The Andalusian Dog”, and although he did not have yet Paris in his pocket, he managed to recover many of his memories of his childhood in his trips to the city of lights, later on this will influence him to accomplish it. His first painting in the series “Apparatuses”, lead him to the absolute liberation of his critical-paranoid painting. Two works launched his surrealist period: “My mother, my mother, my mother”, and “The gloomy game”.

Date: conceived in 1977, first cast in 1984, 2014 cast
Material: bronze
Technique: lost wax process
Edition size: 343 of 350 + 35 EA, patina green/brown
Height: 46 cm
Maquette: original gouache, Saint George and the Dragon, 1977
Direct intervention (created by Dalí): the idea, image, and original maquette
Indirect intervention (created by artisans): lost wax process and patina

Starting in the 1930’s, a period of incredible creativity, virtuosity and scandal, something that Dalí mastered perfectly, began. His paintings are shown in Paris and New York simultaneously, so he declares: “¡New York belongs to us!” The 1930’s would also be the time for his union and disunnion with the surrealists, since neither Breton nor his group would understand the political positions that Dalí openly declares. As his art reaches dramatically the entire world, most artists try desperetly to imitate him. The bombings start so Dalí must leave Europe. He settles with Gala in the States. His artistic formula, that incredible fascination of juxtaposing traditional objects in incongruous ways grows majestically. His talent for execution never stops enhancing. His ability matures with time and achieves worldwide admiration. Without his imaginative power and his discourse, Dalí might have been a remarkable painter, endowed with incredible drawing talent and unique skill as a miniaturist, but his desire, his relentless innovation and continuous disruption, make him a genius.


[Top Left: Date: conceived in 1949, first cast in 1984, 2017 cast Material: bronze Technique: lost wax process Edition: 203 of 350 + 35 EA, patina blue Height: 40,5 cm* size does not include marble base, approximately 4 cm high Maquette: original drawing, Dalinian Dancer, 1949 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina.


Top Right: Date: conceived in 1949, first cast in 1984, 2017 cast Material: bronze Technique: lost wax process Edition: 139 of 350 + 35 EA, patina green Height: 30,5 cm* size does not include marble base, approximately 3 cm high Maquette: original gouache, Dance of Time, 1979 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina.


Bottom Left: Date: conceived and first cast 1980, 2017 cast Material: bronze Technique: lost wax process Edition: 152 of 350 + 35 EA, patina brown Height: 35 cm Maquette: original wax, Homage to Newton, 1980 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina.


Bottom Right: Date: conceived and first cast in 1980, 2017 cast Material: bronze Technique: lost wax process Edition size: 308 of 350 + 35 EA, patina brown Height: 94 cm Maquette: original plaster, Space Elephant, 1980 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina.]

The 1940’s is a period of incredible production. He paints, “Giant flying half-cup, with inexplicable annex of five meters in length”, “The temptation of Saint Anthony”, “The separation of the atom”, “Portrait of Picasso”, “Leda atomica”, and other great titles. This period is known for its mystical side and its photographic legacy. In the 1950’s Dalí also appropriated of some religious symbols, painting his version of the crucifixion and the Last Supper. Over the next three decades, Dalí, instead of plagiarizing and repeating himself, demonstrates an innate evolution that stablishes the creation of his own psychic world. He ventures into sculpture and continues his Gala legacy as the muse of many of his work. He is also awarded with innumerable mentions around the globe. Although he has matured, he shows that he’s not leaving the scandal behind, for it is precisely in his last years when Dalí turns towards immortality. He does not simply want to die, he is determined to preserve himself in liquid helium and wait for humanity to discovers how to rejuvenate cells so he, the great genius, can be awaken.

Date: conceived in 1976, first cast in 1984, 2017 cast
Material: bronze
Technique: lost wax process
Edition size: 291 of 350 + 35 EA, patina blue
Height: 50 cm
Maquette: original drawing, Triumphant Angel, 1976
Direct intervention (created by Dalí): the idea, image, and original maquette
Indirect intervention (created by artisans): lost wax process and patina

Is now year 2020, a normal october afternoon. A century ago Dalí himself lived in a reality similar to ours, filled with war and death, displacement of societies and a constant questioning of existence. Humanity has not yet discovered how to rejuvenate cells, but we have brought back the genius. Yes, Dalí teleported himself to this year, to a world similar to his creations, to a world out of the ordinary. Marcel Katz Art has the honor to show Salvador Dalí’s works on paper, bronze sculpture, and a large-scale museum sculpture in partnership with the Dalí Universe and The Confidante. These works have been specifically chosen because they represent the surreal reality we currently live in, and our will to overcome it. Starting from Nov 20th to Jan 17th. This 8 week long exhibition will display the atmosphere of Dalí remarkable world in Miami. Each of these pieces carry their own unique symbolism, the one who he used to imbibe in his works, to represent facets of hope and survival through this special period that we, as humanity, are now facing to.

– Written by Jonathan Lerma H.

Editorial Artplug Team.

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