{"id":12804,"date":"2017-05-11T09:13:28","date_gmt":"2017-05-11T07:13:28","guid":{"rendered":"https:\/\/www.gml.si\/fine-arts-exhibition-salvador-dali-recettes-dimmortalite\/"},"modified":"2017-05-11T09:13:28","modified_gmt":"2017-05-11T07:13:28","slug":"fine-arts-exhibition-salvador-dali-recettes-dimmortalite","status":"publish","type":"post","link":"https:\/\/www.gml.si\/en\/fine-arts-exhibition-salvador-dali-recettes-dimmortalite\/","title":{"rendered":"FINE ARTS EXHIBITION: Salvador Dal\u00ed \u2013 Recettes d’immortalit\u00e9"},"content":{"rendered":"

\"\"<\/a>I N V I T A T I O N<\/p>\n

Gallery-Museum Lendava and\u00a0 Municipality of\u00a0Lendava kindly invites you and your friends to the opening of the exhibition<\/span><\/p>\n

Salvador Dal\u00ed<\/strong> <\/span>
\n Recipes of Immortality,<\/span><\/p>\n

which will be held on Thursday, 18th<\/sup> May 2017 at 7 pm<\/strong> at Lendava castle.<\/p>\n

Welcome speech by Beata Lazar<\/strong>,
\n Director of the Gallery-Museum Lendava.<\/p>\n

Additional speeches by mag. Anton Bala\u017eek<\/strong><\/em>, Mayor of the Municipality of Lendava and
\n art historian dr. Marjeta Ciglene\u010dki<\/strong><\/em>.<\/p>\n

The exhibition will be opened by Tone Per\u0161ak<\/strong>,
\n Minister of Culture of the Republic of Slovenia.<\/p>\n

\n

The exhibition will be be open until 31 October 2017.<\/em><\/p>\n

\n

 <\/p>\n

Salvador Dal\u00ed: <\/strong>Recettes d\u2019immortalit\u00e9
\n <\/span>From the Richard H. Mayer private art collection<\/em><\/p>\n

Salvador Dal\u00ed<\/strong>
\n Recipes of Immortality<\/strong><\/em><\/p>\n

Gallery-Museum Lendava invites you to come and view an exhibition of more than one hundred prints and drawings and two tapestries by the Catalan artist, Salvador Dal\u00ed (1904\u20131989), loaned to the Lendava Castle by private collector, Richard H. Mayer, from Germany.<\/p>\n

Salvador Dal\u00ed, who is known as a leader in Surrealism, made his fame both through his great art and his provocative lifestyle. His oeuvre embraces nearly the entire 20th century, for he began to create while still very young, and his direct, explosive imaginative power remained firm until his death. He lived in the limelight, working in the isolated fishing village of Port Lligat in Cadaqu\u00e9su, and he longed for physical and spiritual eternity.<\/p>\n

Exhibition organizers: The Gallery-Museum Lendava and Kontakt Verlag, Neufahrn bei Freising.<\/em><\/p>\n

\n

INVITATION GRAPHICS
\n <\/em><\/h2>\n

\"\"<\/a><\/p>\n

\n

ABOUT THE EXHIBITION<\/strong><\/span><\/p>\n

Salvador Dal\u00ed (1904\u20131989)<\/strong>
\n Recipes of Immortality<\/strong><\/em><\/p>\n

\"\"<\/a>

Salvador Dal\u00ed (portrait)<\/p><\/div>\n

Salvador Dal\u00ed was one of Europe’s leading Surrealists, his creative years covering nearly three quarters of the 20th<\/sup> century. He studied painting in Madrid (1922-1926), but conflicts with his professors put an end to that. Much more than by the traditionally-oriented program at the Madrid academy, however, he was formed by the Residencia de Estudiantes<\/em>, an open, liberal and multi-disciplinary student organization where Spanish modern art developed. His friends, Garc\u00eda Lorca (1898-1936) and Luis Bu\u00f1uel (1900-1983), also moved in those circles. Already during his stay in Madrid, Dal\u00ed appeared to be highly sophistocated, and his first steps toward modern painting were accompanied by theoretical reflections that were published in Spanish and later in Parisian art magazines. He saw Paris for the first time in 1927, where he met Picasso (1881-1973); he also delved into the writings of Sigmund Freud (1856-1939), and was influenced greatly by them. Leaning upon psychoanalysis, he called his creative approach “critical paranoia”, describing it as a “…spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena.” His wish was for a similar delirious state to overcome viewers looking at his paintings, as if they themselves were inspired by echoes of the creative process. The Parisian Surrealists took notice of him, and he exhibited with them as early as 1929. However, some years later they went their separate ways, due, among other things, to Dal\u00ed’s unique lifestyle. He was deft in the pursuit of personal promotion, and newspapers followed his excessive public appearances. He traveled extensively, moving in fashionable circles among the affluent, selling his works for inordinate sums. But Dal\u00ed was not only a painter, he was a designer as well, working for the fashion industry and participating in the commercial world. His political beliefs set him apart from the prevailing mood among his contemporaries in the artistic community, and his defense of the Franco dictatorship damaged his reputation.<\/p>\n

From 1929 onward, he lived with Gala (1894-1982), the former wife of poet Paul \u00c9luard. Dal\u00ed was fully devoted to her, and her likeness is present in many of his works. When they weren’t traveling, they lived in solitude in Port Lligat, a small fishing village in Catalonia, where Dal\u00ed created with incredible discipline and in perfect control of his calling. He was an outstanding expert on earlier paintings and an astute investigator of such demanding fine arts procedures as those devised by the old masters. He developed a complex iconography, based in its early stages on his study of Freud’s psychoanalysis, but was tied all the same to his own trauma.<\/p>\n

Later he took a lively interest in scientific discoveries as well as in the ancient mysticism of past centuries, both of which are reflected in his art. He created an exceptionally broad oeuvre, which numerous monographs, exhibitions and debates have not yet fully reviewed and conclusively assessed. Among art collectors, his artworks are highly valued. Richard H. Mayer’s Bamberg collection harbors a remarkable number of Dal\u00ed’s works on paper, particularly from the period after the Second World War.<\/p>\n

Experts of Dal\u00ed’s oeuvre highlight the 1930s, when he belonged to the circle of Paris Surrealists. The year 1934 was especially fruitful, for he had six solo exhibitions, two in both New York and Paris, one in Barcelona and one in London. That year a number of his key works were completed, among them a series of h\u00e9liogravure and drypoint inspired by Maldoror’s famous songs, published by Skira and used as illustrations for a text by Count Lautr\u00e9amont (1846-1870). With his fantastic visions, Lautr\u00e9amont was an important role model for the Surrealist movement, and Luis Bu\u00f1uel and Dal\u00ed paid tribute to him with the film, The Golden Age<\/em> (1930). Dal\u00ed did not consistently follow the unusual situations in Lautr\u00e9amont’s poetry, but rather, he focused on motifs he was simultaneously developing in his own artworks, including an interpretation of the famous painting, Evening Prayer<\/em>, by French Realist Fran\u00e7ois Millet (1857-1859). His version proceeded from Freud’s theories, and the Oedipus complex is recognized in the figure of a melancholic farmer. The Lendava castle exhibition acquaints visitors with that prolific phase in Dal\u00ed’s career; otherwise the majority of exhibited works date back to the post-World War II period.<\/p>\n

\"\"<\/a>

Cathedral of the Thumbs<\/strong>
\n 1947, pen and ink drawing, 15,8 x 20,8 cm<\/p><\/div>\n

In 1940, Gala and Salvador Dal\u00ed fled from France to the United States and remained there for eight years. Even in exile he was very active. He received many orders and worked in various fields. Among other things, the Doubleday publishing company in New York hired him as an illustrator. Michel de Montaigne’s writings had excited him<\/em> for a long time. He furnished the French Renaissance thinker’s essays with 37 illustrations, among which is an image of a thumb. Back in 1929, the magazine, L’amic de les arts<\/em>, posted an essay entitled Liberation of the Fingers<\/em>, dealing with the thumb’s symbolism and the motif of a feathered phallus, honored in antiquity in fertility prayers. In the Mayer collection is an ink drawing called Cathedral of Thumbs<\/em>, dated 1947. Six large thumbs casting long, dark shadows are distributed in a wide open area. Figures enhance the scene with thumbs up on raised hands. In the second half of the 1940s, Dal\u00ed took a new approach toward painting, presenting it in the text of 50 Secrets of Magic Craftsmanship<\/em> (1948). The secrets are more often than not rules of a technical nature, reminiscent of the thinking of Renaissance masters. Dal\u00ed studied ancient writings with great admiration and in those years he also undertook painting in such a manner that some refered to it as new Classicism, while at the same time describing it as early Surrealism. An outstanding piece from this period, Leda Atomica<\/em> (1949), depicts Gala nude, with a swan and various objects floating in space. Evocation of the Renaissance is evident, as are his accentuated precision and perspective, symmetry and references to antiquity. His fascination with achievements in atomic physics is apparent as well. The explosion of the atomic bomb, symbolically ending World War II, convinced him that the atom must become the core of his future thought.<\/p>\n

In 1948 Dal\u00ed returned to Spain and remained there until his death in 1989. He publicly expressed his support for an anti-democratic and absolute monarchy, and for General Franco, earning himself much resentment. His political views caused many art critics to deny his artistic and intellectual authority. He published his Mystical Manifesto <\/em>in 1951 in Paris, explaining his pursuit of Neoclassicism and rediscovery of the Renaissance.<\/p>\n

\"\"<\/a>

Christ of Saint John of the Cross<\/strong>
\n 1951, pen and ink drawing, 20,5 x 14,5 cm<\/p><\/div>\n

In reviews, Dal\u00ed’s paintings from the 1950s are commonly referred to as his mystical-nuclear phase. He was attracted to asceticism and mysticism as they were practiced by Spanish mystics during the Renaissance. He studied mathematics and the Pythagorean writings of the Franciscan, Luca Paciolija (1445-1514), and the Spanish architect, Juan de Herrera (1530-1597), and at the same time, he was drawn to the latest discoveries in atomic physics, quantum mechanics and logarithmic spirals, that he saw, for example, in the rhinoceros horn. He associated the phenomena of dematerialization and weightlessness with heavenly secrets. He was affected by the experience of the 16th<\/sup> century Carmelite monk and mystic, St. John of the Cross, to whom the Crucifix appeared while he was praying in a monastery in Avila, after which he sketched his vision. The 1641 drawing was saved in a monstrance, and it is precisely this drawing that inspired Dal\u00ed. St. John of the Cross painted Christ from above and turned slightly to one side; the lower part of the cross is cut off from the composition, so we perceive the Crucifix as floating in air. Dal\u00ed also portrayed his Crucifix in a view from above, but he centralized it. Seen in its entirety, the cross floats on the dark background of the sky, and below it, the last rays of the sun redden the clouds and gleam on the side of a boat on a beach, ostensibly the Bay of Port Lligat where he and Gala had lived. For the painting, kept in the Art Gallery in Glasgow, he made quite a few studies; of particular interest are the oldest among them, dated 1950 and 1951 and provided with a note. In it Dal\u00ed explained a “cosmic dream” he had in 1950, when the drawing of St. John of the Cross appeared to him in color. Apparently he talked about it with Father Bruno, a Paris Carmelite, and rendered his dream vision of Christ as a small circle in an inverted triangle, which is also the compositional design for his big picture. One etching in Mayer’s collection depicts another Christ on the cross, floating in a landscape, rays spreading from the left edge of the sheet toward the Crucifix; points of the lines form a triangle on Christ’s body, indicating spots for the nails.<\/p>\n

Dal\u00ed illustrated his Mystical Manefesto <\/em>with such floating images of Christ; a version also exists without the Cross and landscapes. He incorporated the floating Crucifix in other, earlier works, too, outstanding among which is the large composition, Assumpta Corpuscularia Lapislazulina<\/em> (1952), representing the Assumption of Mary. Mary has Gala’s face and body; repeated on her transparent and elongated torso and above the altar is the Christ of St. John of the Cross, but this time without the cross.<\/p>\n

Dal\u00ed affirms in his memoirs that his greatest teacher was Don Juan N\u00fa\u00f1ez Fern\u00e1ndez (1877-1963), who was excellent in etching and twelve years earlier on had introduced Dal\u00ed to the nuances of the light-dark principle and the secrets of Rembrandt’s prints. When Dal\u00ed had to leave the Academy in Madrid and had returned to his home in Figueras, his father bought him a printing machine. Dal\u00ed prefered to work in drypoint, often refining it with etching; overall, he experimented a lot. He considered lithography technically uninteresting and without any real power, but it proved to be convenient for his experiments. He “shot” lithographic inks (ie, his assistants did the shooting) on stone matrixes, achieving Tachisme-like effects. One unusual technique was called Bulletism, after the French word boule<\/em>, meaning ball. A ball, a kind of bomb, was filled with ink or various other objects that would explode and leave blots when shot at a matrix.<\/p>\n

\"\"<\/a>

Madonne (DON QUICHOTTE DE LA MANCHE)<\/strong>
\n (Don Quixote)
\n 1957 Paris, color lithograph, 64,5 x 41 cm<\/p><\/div>\n

A bibliophile, Dal\u00ed kept a lot of books in his house in Port Lligat. His biographers report that he wrote notations in them and underlined interesting passages while reading. He also authored several books himself; some describe his life, others explain his artistic credo. Furthermore, he was an acclaimed illustrator. Sometimes he produced illustrations in watercolor that engravers then transferred to matrixes, but often he carved them into the matrixes himself. He used the Bulletism technique for the first time in illustrations prepared for Don Quixote<\/em> (1957). The publisher insisted on lithographs, so Dal\u00ed began an experiment. He fired at a stone block from an old gun, having filled the lead bullets with lithographic ink. He described the damage to the block as “God’s smudges, some sort of angel wings, made from air and dynamic power”. The accidental damage to the blocks served as his compositional starting point; he took motifs from his famous repertoire, inspired by Renaissance masters, simultaneously interweaving the contemporary themes occupying him at that moment. Thus, among prints of a nuclear windmill can be found one where the menacingly anthropomorphized cloud of an atomic explosion rises above the figure of a medieval knight. Traces of ancient animals (snail, ammonites) were also printed; namely, Dal\u00ed required blocks of limestone with a high fossil content, obtained in Bavaria’s Solnhofen.<\/p>\n

\"\"<\/a>

All in the Golden Afternoon<\/strong>
\n (Alice\u2019s Adventures in Wonderland)
\n 1969 New York, etching, 43 x 58 cm<\/p><\/div>\n

Since the 1960s, Dal\u00ed increasingly borrowed motifs from other authors. Accordingly, after coming to an agreement with publisher Pierre Argillet, he reworked Picasso’s 1957 Bullfighting<\/em>, while also being inspired by Goya’s etchings series on the same topic. He gave the watercolors for his Surrealist Bullfight<\/em> series (1966\/67) to printing masters to print using the h\u00e9liogravure technique. Goya’s and Picasso’s point of departure came from their fascination with the ritual slaughter of the bull and events in the arena; Dal\u00ed updated the content. Details from his other compositions can be observed on individual prints. The one entitled Television<\/em> (the scene is captured in the frame of a television screen) is taken from Pop Art. Similarly, he prepared drafts for Lewis Carroll’s Alice in Wonderland<\/em>, which were printed as color h\u00e9liogravures (1968\/69). In addition to the prints in the Mayer collection, there are two drafts in gouache. The whimsically rich world of famous tales fit Dal\u00ed’s sense of the surreal. A girl wielding a jump rope is clearly the Alice character, but as a red thread running throughout are also realistically true butterflies and beetles. The vivid characters of the series correspond with Dal\u00ed’s interest in the contemporary hippy movement. His compositions follow the text’s literary narrative, but confront us with the typical Dal\u00ed subjects in them, for example, Soft Watches<\/em>. Similar is a lively series of colored lithographs on the theme of Carmen<\/em>. The painter followed the scenes from Georges Bizet’s famous opera as they occurred on stage, but in certain places he arranged some portraits of the main characters.<\/p>\n

\"\"<\/a>

LE PIANO SOUS LA NEIGE (TAUROMACHIE SURR\u00c9ALISTE)<\/strong>
\n (Surrealist Bullfight)
\n 1967 Paris, drypoint and aquatint, 51 x 66 cm<\/p><\/div>

\"\"<\/a>

DIX RECETTES D’IMMORTALIT\u00c9<\/strong>
\n \u00a0 Ten Recipes for Immortality
\n 1973 Paris, plexiglass case, 65 x 56 x 10 cm<\/p><\/div><\/p>\n

Salvador Dal\u00ed’s book-object, Ten Recipes for Immortality<\/em> (1973), occupies a special place in his later oeuvre, and also in the Lendava castle exhibition. A Plexiglass case, its handle formed like a telephone handset and locks like sunny side up eggs, contains several prints (mainly drypoint) that resemble leaflets. In designing the book-object, Dal\u00ed adopted the stereoscopic technique, one he discovered while studying the works of the Dutch painter, Gerrit Dou (1613-1675). He found in the human brain two flat images, nearly, but not quite the same, that depict the same motif in slightly altered angles and merge them into a single image with a distinctive three-dimensional spatial effect. Dal\u00ed was enthusiastic over this finding, and binocular vision kept him very busy in the 1970s. He equated it with the greatest of physical discoveries and in it he detected God’s laws, pure energy and a source of immortality. The Ten Recipes of Immortality<\/em> are based on scientific knowledge that, one way or another, is connected with humankind’s eternal striving for eternity, and about which he had been in touch with numerous experts. Dal\u00ed was troubled by the question of death, also on a personal level, and among his representations in a variety of topics, encumbered with older art, sacred symbolism and his famous Dal\u00ed-esque Surrealistic repertoire, is a three part leaflet with the significant title, Stereoscopic Immortal Monarch<\/em> (also, Immortal Monarch<\/em>), which we can link to his convictions concerning the only real political arrangement.<\/p>\n

\"\"<\/a>

MOSES (MO\u012aSE ET LE MONOTH\u00c9ISME)<\/strong>
\n (Moses and Monotheism)
\n 1974 Paris\/Nice, woodcut, 65,5 x 49,7 cm<\/p><\/div>\n

There are also prints stored in a leather case (lithographs with etchings in the center, printed on lambskin) entitled Moses and Monotheism<\/em> (1974). The case is adorned with a silver plated relief of Moses, after Michelangelo. Texts from Freud’s Moses and Monotheism<\/em> (1939) accompany the artwork. The selection of its content came from Dal\u00ed’s universal interest in Freud, but also from his specific relations with his authoritarian father, who had a habit of winding a lock of hair around his fingers, creating a spiral that stuck out over his head like a horn of Moses.<\/p>\n

Chronologically, the exhibition concludes with a watercolor depicting two Soft Watches<\/em> (1978). The pocket watches, bending and stretching like a kind of limp tongue, are probably the most recognizable subjects in the extensive range of unusual items in Dal\u00ed’s paintings. His first one came along in 1931 in the piece, Persistence of Memory<\/em> (now in the Museum of Modern Art in New York). Ordinarily we interpret them to symbolize the relativity of space and time, although the painter himself said he was inspired by a piece of cheese softened in a hot environment. Soft watches often appear as opponents to the element of hardness, for Dal\u00ed was attracted by pairs in a contrapoint relationship.<\/p>\n

Salvador Dal\u00ed is one of the most famous artists of the 20th<\/sup> century, very unique and controversial. He was not bound by popular currents, and his works have been subject to various evaluations. Some eminent critics dismissed him, among them Clement Greenberg (1909-1994); however, he also had numerous admirers and followers. The study of his oeuvre from a longer distance in time gains the objectivity of research and we can expect new findings to bring us even closer to the complex creative cravings of this unusual painter from Catalonia.<\/p>\n

Slovenian artists were acquainted with Surrealism even before the Second World War. Stane Kregar (1905-1973) learned of it during his studies in Prague through magazine publications and from works of the Czech Surrealists. In Paris in 1937 and 1938, he was able to examine original works from Dal\u00ed’s critical-paranoia phase. Toma\u017e Brejc notes that Kregar did not accept Dal\u00ed’s radical approach. He wrote further that Kregar was inspired by the Catalonian painter’s particularities, which he borrowed and carried over to his own compositions, forming his personal variation of Surrealism, marked by “thirty years of Slovenian religious-rural staging.” Kept among the items left by the Ptuj painter, Albin Lugari\u010d (1927-2014), is a playful wash drawing of the famous Catalonian artist at whom a pesky fly is flinging eggs.<\/p>\n

Salvador Dal\u00ed was one of Europe’s leading Surrealists, his creative years covering nearly three quarters of the 20th century. He studied painting in Madrid (1922-1926), but conflicts with his professors put an end to that. Much more than by the traditionally-oriented program at the Madrid academy, however, he was formed by the Residencia de Estudiantes, an open, liberal and multi-disciplinary student organization where Spanish modern art developed. His friends, Garc\u00eda Lorca (1898-1936) and Luis Bu\u00f1uel (1900-1983), also moved in those circles. Already during his stay in Madrid, Dal\u00ed appeared to be highly sophistocated, and his first steps toward modern painting were accompanied by theoretical reflections that were published in Spanish and later in Parisian art magazines. He saw Paris for the first time in 1927, where he met Picasso (1881-1973); he also delved into the writings of Sigmund Freud (1856-1939), and was influenced greatly by them. Leaning upon psychoanalysis, he called his creative approach “critical paranoia”, describing it as a “…spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena.” His wish was for a similar delirious state to overcome viewers looking at his paintings, as if they themselves were inspired by echoes of the creative process. The Parisian Surrealists took notice of him, and he exhibited with them as early as 1929. However, some years later they went their separate ways, due, among other things, to Dal\u00ed’s unique lifestyle. He was deft in the pursuit of personal promotion, and newspapers followed his excessive public appearances. He traveled extensively, moving in fashionable circles among the affluent, selling his works for inordinate sums. But Dal\u00ed was not only a painter, he was a designer as well, working for the fashion industry and participating in the commercial world. His political beliefs set him apart from the prevailing mood among his contemporaries in the artistic community, and his defense of the Franco dictatorship damaged his reputation.<\/p>\n

From 1929 onward, he lived with Gala (1894-1982), the former wife of poet Paul \u00c9luard. Dal\u00ed was fully devoted to her, and her likeness is present in many of his works. When they weren’t traveling, they lived in solitude in Port Lligat, a small fishing village in Catalonia, where Dal\u00ed created with incredible discipline and in perfect control of his calling. He was an outstanding expert on earlier paintings and an astute investigator of such demanding fine arts procedures as those devised by the old masters. He developed a complex iconography, based in its early stages on his study of Freud’s psychoanalysis, but was tied all the same to his own trauma.<\/p>\n

Later he took a lively interest in scientific discoveries as well as in the ancient mysticism of past centuries, both of which are reflected in his art. He created an exceptionally broad oeuvre, which numerous monographs, exhibitions and debates have not yet fully reviewed and conclusively assessed. Among art collectors, his artworks are highly valued. Richard H. Mayer’s Bamberg collection harbors a remarkable number of Dal\u00ed’s works on paper, particularly from the period after the Second World War.<\/p>\n

Experts of Dal\u00ed’s oeuvre highlight the 1930s, when he belonged to the circle of Paris Surrealists. The year 1934 was especially fruitful, for he had six solo exhibitions, two in both New York and Paris, one in Barcelona and one in London. That year a number of his key works were completed, among them a series of h\u00e9liogravure and drypoint inspired by Maldoror’s famous songs, published by Skira and used as illustrations for a text by Count Lautr\u00e9amont (1846-1870). With his fantastic visions, Lautr\u00e9amont was an important role model for the Surrealist movement, and Luis Bu\u00f1uel and Dal\u00ed paid tribute to him with the film, The Golden Age (1930). Dal\u00ed did not consistently follow the unusual situations in Lautr\u00e9amont’s poetry, but rather, he focused on motifs he was simultaneously developing in his own artworks, including an interpretation of the famous painting, Evening Prayer, by French Realist Fran\u00e7ois Millet (1857-1859). His version proceeded from Freud’s theories, and the Oedipus complex is recognized in the figure of a melancholic farmer. The Lendava castle exhibition acquaints visitors with that prolific phase in Dal\u00ed’s career; otherwise the majority of exhibited works date back to the post-World War II period.<\/p>\n

In 1940, Gala and Salvador Dal\u00ed fled from France to the United States and remained there for eight years. Even in exile he was very active. He received many orders and worked in various fields. Among other things, the Doubleday publishing company in New York hired him as an illustrator. Michel de Montaigne’s writings had excited him for a long time. He furnished the French Renaissance thinker’s essays with 37 illustrations, among which is an image of a thumb. Back in 1929, the magazine, L’amic de les arts, posted an essay entitled Liberation of the Fingers, dealing with the thumb’s symbolism and the motif of a feathered phallus, honored in antiquity in fertility prayers. In the Mayer collection is an ink drawing called Cathedral of Thumbs, dated 1947. Six large thumbs casting long, dark shadows are distributed in a wide open area. Figures enhance the scene with thumbs up on raised hands. In the second half of the 1940s, Dal\u00ed took a new approach toward painting, presenting it in the text of 50 Secrets of Magic Craftsmanship (1948). The secrets are more often than not rules of a technical nature, reminiscent of the thinking of Renaissance masters. Dal\u00ed studied ancient writings with great admiration and in those years he also undertook painting in such a manner that some refered to it as new Classicism, while at the same time describing it as early Surrealism. An outstanding piece from this period, Leda Atomica (1949), depicts Gala nude, with a swan and various objects floating in space. Evocation of the Renaissance is evident, as are his accentuated precision and perspective, symmetry and references to antiquity. His fascination with achievements in atomic physics is apparent as well. The explosion of the atomic bomb, symbolically ending World War II, convinced him that the atom must become the core of his future thought.<\/p>\n

In 1948 Dal\u00ed returned to Spain and remained there until his death in 1989. He publicly expressed his support for an anti-democratic and absolute monarchy, and for General Franco, earning himself much resentment. His political views caused many art critics to deny his artistic and intellectual authority. He published his Mystical Manifesto in 1951 in Paris, explaining his pursuit of Neoclassicism and rediscovery of the Renaissance. In reviews, Dal\u00ed’s paintings from the 1950s are commonly referred to as his mystical-nuclear phase. He was attracted to asceticism and mysticism as they were practiced by Spanish mystics during the Renaissance. He studied mathematics and the Pythagorean writings of the Franciscan, Luca Paciolija (1445-1514), and the Spanish architect, Juan de Herrera (1530-1597), and at the same time, he was drawn to the latest discoveries in atomic physics, quantum mechanics and logarithmic spirals, that he saw, for example, in the rhinoceros horn. He associated the phenomena of dematerialization and weightlessness with heavenly secrets. He was affected by the experience of the 16th century Carmelite monk and mystic, St. John of the Cross, to whom the Crucifix appeared while he was praying in a monastery in Avila, after which he sketched his vision. The 1641 drawing was saved in a monstrance, and it is precisely this drawing that inspired Dal\u00ed. St. John of the Cross painted Christ from above and turned slightly to one side; the lower part of the cross is cut off from the composition, so we perceive the Crucifix as floating in air. Dal\u00ed also portrayed his Crucifix in a view from above, but he centralized it. Seen in its entirety, the cross floats on the dark background of the sky, and below it, the last rays of the sun redden the clouds and gleam on the side of a boat on a beach, ostensibly the Bay of Port Lligat where he and Gala had lived. For the painting, kept in the Art Gallery in Glasgow, he made quite a few studies; of particular interest are the oldest among them, dated 1950 and 1951 and provided with a note. In it Dal\u00ed explained a “cosmic dream” he had in 1950, when the drawing of St. John of the Cross appeared to him in color. Apparently he talked about it with Father Bruno, a Paris Carmelite, and rendered his dream vision of Christ as a small circle in an inverted triangle, which is also the compositional design for his big picture. One etching in Mayer’s collection depicts another Christ on the cross, floating in a landscape, rays spreading from the left edge of the sheet toward the Crucifix; points of the lines form a triangle on Christ’s body, indicating spots for the nails.<\/p>\n

Dal\u00ed illustrated his Mystical Manefesto with such floating images of Christ; a version also exists without the Cross and landscapes. He incorporated the floating Crucifix in other, earlier works, too, outstanding among which is the large composition, Assumpta Corpuscularia Lapislazulina (1952), representing the Assumption of Mary. Mary has Gala’s face and body; repeated on her transparent and elongated torso and above the altar is the Christ of St. John of the Cross, but this time without the cross.<\/p>\n

Dal\u00ed affirms in his memoirs that his greatest teacher was Don Juan N\u00fa\u00f1ez Fern\u00e1ndez (1877-1963), who was excellent in etching and twelve years earlier on had introduced Dal\u00ed to the nuances of the light-dark principle and the secrets of Rembrandt’s prints. When Dal\u00ed had to leave the Academy in Madrid and had returned to his home in Figueras, his father bought him a printing machine. Dal\u00ed prefered to work in drypoint, often refining it with etching; overall, he experimented a lot. He considered lithography technically uninteresting and without any real power, but it proved to be convenient for his experiments. He “shot” lithographic inks (ie, his assistants did the shooting) on stone matrixes, achieving Tachisme-like effects. One unusual technique was called Bulletism, after the French word boule, meaning ball. A ball, a kind of bomb, was filled with ink or various other objects that would explode and leave blots when shot at a matrix.<\/p>\n

A bibliophile, Dal\u00ed kept a lot of books in his house in Port Lligat. His biographers report that he wrote notations in them and underlined interesting passages while reading. He also authored several books himself; some describe his life, others explain his artistic credo. Furthermore, he was an acclaimed illustrator. Sometimes he produced illustrations in watercolor that engravers then transferred to matrixes, but often he carved them into the matrixes himself. He used the Bulletism technique for the first time in illustrations prepared for Don Quixote (1957). The publisher insisted on lithographs, so Dal\u00ed began an experiment. He fired at a stone block from an old gun, having filled the lead bullets with lithographic ink. He described the damage to the block as “God’s smudges, some sort of angel wings, made from air and dynamic power”. The accidental damage to the blocks served as his compositional starting point; he took motifs from his famous repertoire, inspired by Renaissance masters, simultaneously interweaving the contemporary themes occupying him at that moment. Thus, among prints of a nuclear windmill can be found one where the menacingly anthropomorphized cloud of an atomic explosion rises above the figure of a medieval knight. Traces of ancient animals (snail, ammonites) were also printed; namely, Dal\u00ed required blocks of limestone with a high fossil content, obtained in Bavaria’s Solnhofen.<\/p>\n

Since the 1960s, Dal\u00ed increasingly borrowed motifs from other authors. Accordingly, after coming to an agreement with publisher Pierre Argillet, he reworked Picasso’s 1957 Bullfighting, while also being inspired by Goya’s etchings series on the same topic. He gave the watercolors for his Surrealist Bullfight series (1966\/67) to printing masters to print using the h\u00e9liogravure technique. Goya’s and Picasso’s point of departure came from their fascination with the ritual slaughter of the bull and events in the arena; Dal\u00ed updated the content. Details from his other compositions can be observed on individual prints. The one entitled Television (the scene is captured in the frame of a television screen) is taken from Pop Art. Similarly, he prepared drafts for Lewis Carroll’s Alice in Wonderland, which were printed as color h\u00e9liogravures (1968\/69). In addition to the prints in the Mayer collection, there are two drafts in gouache. The whimsically rich world of famous tales fit Dal\u00ed’s sense of the surreal. A girl wielding a jump rope is clearly the Alice character, but as a red thread running throughout are also realistically true butterflies and beetles. The vivid characters of the series correspond with Dal\u00ed’s interest in the contemporary hippy movement. His compositions follow the text’s literary narrative, but confront us with the typical Dal\u00ed subjects in them, for example, Soft Watches. Similar is a lively series of colored lithographs on the theme of Carmen. The painter followed the scenes from Georges Bizet’s famous opera as they occurred on stage, but in certain places he arranged some portraits of the main characters.<\/p>\n

Salvador Dal\u00ed’s book-object, Ten Recipes for Immortality (1973), occupies a special place in his later oeuvre, and also in the Lendava castle exhibition. A Plexiglass case, its handle formed like a telephone handset and locks like sunny side up eggs, contains several prints (mainly drypoint) that resemble leaflets. In designing the book-object, Dal\u00ed adopted the stereoscopic technique, one he discovered while studying the works of the Dutch painter, Gerrit Dou (1613-1675). He found in the human brain two flat images, nearly, but not quite the same, that depict the same motif in slightly altered angles and merge them into a single image with a distinctive three-dimensional spatial effect. Dal\u00ed was enthusiastic over this finding, and binocular vision kept him very busy in the 1970s. He equated it with the greatest of physical discoveries and in it he detected God’s laws, pure energy and a source of immortality. The Ten Recipes of Immortality are based on scientific knowledge that, one way or another, is connected with humankind’s eternal striving for eternity, and about which he had been in touch with numerous experts. Dal\u00ed was troubled by the question of death, also on a personal level, and among his representations in a variety of topics, encumbered with older art, sacred symbolism and his famous Dal\u00ed-esque Surrealistic repertoire, is a three part leaflet with the significant title, Stereoscopic Immortal Monarch (also, Immortal Monarch), which we can link to his convictions concerning the only real political arrangement.<\/p>\n

There are also prints stored in a leather case (lithographs with etchings in the center, printed on lambskin) entitled Moses and Monotheism (1974). The case is adorned with a silver plated relief of Moses, after Michelangelo. Texts from Freud’s Moses and Monotheism (1939) accompany the artwork. The selection of its content came from Dal\u00ed’s universal interest in Freud, but also from his specific relations with his authoritarian father, who had a habit of winding a lock of hair around his fingers, creating a spiral that stuck out over his head like a horn of Moses.<\/p>\n

Chronologically, the exhibition concludes with a watercolor depicting two Soft Watches (1978). The pocket watches, bending and stretching like a kind of limp tongue, are probably the most recognizable subjects in the extensive range of unusual items in Dal\u00ed’s paintings. His first one came along in 1931 in the piece, Persistence of Memory (now in the Museum of Modern Art in New York). Ordinarily we interpret them to symbolize the relativity of space and time, although the painter himself said he was inspired by a piece of cheese softened in a hot environment. Soft watches often appear as opponents to the element of hardness, for Dal\u00ed was attracted by pairs in a contrapoint relationship.<\/p>\n

Salvador Dal\u00ed is one of the most famous artists of the 20th century, very unique and controversial. He was not bound by popular currents, and his works have been subject to various evaluations. Some eminent critics dismissed him, among them Clement Greenberg (1909-1994); however, he also had numerous admirers and followers. The study of his oeuvre from a longer distance in time gains the objectivity of research and we can expect new findings to bring us even closer to the complex creative cravings of this unusual painter from Catalonia.<\/p>\n

Slovenian artists were acquainted with Surrealism even before the Second World War. Stane Kregar (1905-1973) learned of it during his studies in Prague through magazine publications and from works of the Czech Surrealists. In Paris in 1937 and 1938, he was able to examine original works from Dal\u00ed’s critical-paranoia phase. Toma\u017e Brejc notes that Kregar did not accept Dal\u00ed’s radical approach. He wrote further that Kregar was inspired by the Catalonian painter’s particularities, which he borrowed and carried over to his own compositions, forming his personal variation of Surrealism, marked by “thirty years of Slovenian religious-rural staging.” Kept among the items left by the Ptuj painter, Albin Lugari\u010d (1927-2014), is a playful wash drawing of the famous Catalonian artist at whom a pesky fly is flinging eggs.<\/p>\n

Ustvarjalna leta Salvadorja Dal\u00edja, enega vodilnih evropskih nadrealistov, zajemajo skoraj tri \u010detrtine 20. stoletja. Slikarstvo je \u0161tudiral v Madridu (1922\u20131926), vendar \u0161tudija ni kon\u010dal zaradi sporov s profesorji. Mnogo bolj kot v tradicijo naravnan program na madridski akademiji ga je oblikovala Residencia de Estudiantes<\/em>, \u0161iroko odprta, liberalna in multidisciplinarna \u0161tudentska organizacija, znotraj katere se je razvila \u0161panska moderna umetnost. Tudi Garc\u00eda Lorca (1898\u20131936) in Luis Bu\u00f1uel (1900\u20131983), s katerima je prijateljeval, sta se gibala v teh krogih. Dal\u00ed je \u017ee med bivanjem v Madridu pokazal \u0161iroko razgledanost in svoje prve korake v moderno slikarstvo spremljal s teoretskimi razmisleki, ki jih je objavljal v \u0161panskih in kasneje tudi pari\u0161kih umetnostnih revijah. Leta 1927 je bil prvi\u010d v Parizu, kjer se je sre\u010dal s Picassom (1881\u20131973), poglabljal pa se je tudi v spise Sigmunda Freuda (1856\u20131939), ki so ga mo\u010dno zaznamovali. Svoj ustvarjalni pristop, oprt na psihoanalizo, je poimenoval \u00bbkriti\u010dna paranoja\u00ab in ga opisal kot \u00bb\u2026 spontano metodo razumnega spoznanja, ki temelji na kriti\u010dno-interpretativni asociaciji deliri\u010dnega fenomena.\u00ab \u017delel si je, da bi gledalca med opazovanjem slik obvladalo podobno delirijsko stanje, kot je med ustvarjalnim procesom pre\u017eemalo njega samega. Pritegnil je pozornost pari\u0161kih nadrealistov in leta 1929 \u017ee razstavljal z njimi. Po nekaj letih so se raz\u0161li, \u010demur je botroval tudi Dal\u00edjev svojevrsten \u017eivljenjski slog. Za osebno promocijo je znal dobro poskrbeti, \u010dasniki so sledili njegovim ekscesnim nastopom v javnosti, veliko je potoval in se gibal v mondenih krogih med najve\u010djimi bogata\u0161i, svoja dela pa prodajal za vrtoglave vsote. Dal\u00ed ni bil le slikar, bil je tudi oblikovalec, delal je za modno industrijo in znal je pose\u010di v svet potro\u0161ni\u0161tva. Njegovo politi\u010dno prepri\u010danje ni bilo v skladu s prevladujo\u010dim razpolo\u017eenjem v so\u010dasnih umetni\u0161kih srenjah, zagovarjal je namre\u010d Francovo diktaturo, kar je \u0161kodilo njegovemu ugledu.<\/p>\n

Od leta 1929 je \u017eivel z Galo (1894\u20131982), dotlej soprogo pesnika Paula \u00c9luarda. Bil ji je povsem predan in Galina podoba obvladuje \u0161tevilna Dal\u00edjeva dela. Kadar nista potovala, sta bivala v osami v majhni ribi\u0161ki vasici Port Lligat v Kataloniji, kjer je Dal\u00ed ustvarjal z neverjetno disciplino in v brezhibnem obvladovanju m\u00e9tierja. Bil je izjemen poznavalec starej\u0161ega slikarstva in pronicljiv preu\u010devalec zahtevnih likovnih postopkov, kakr\u0161ne so zasnovali stari mojstri. Izoblikoval je zapleteno ikonografijo, ki je v zgodnej\u0161em obdobju temeljila na preu\u010devanju Freudove psihoanalize, a je bila vezana na njegove lastne travme.<\/p>\n

Kasneje se je \u017eivo zanimal za odkritja s podro\u010dja naravoslovnih znanosti in za misticizem preteklih stoletij hkrati, kar se je odrazilo v njegovem slikarstvu. Ustvaril je izjemno obse\u017een opus, ki kljub \u0161tevilnim monografijam, razstavam in razpravam \u0161e vedno ni v celoti pregledan in dokon\u010dno ovrednoten. Med zbiralci umetnin so Dal\u00edjeva dela visoko cenjena; v zbirki Richarda H. Mayerja v Bambergu je ohranjenih izjemno \u0161tevilo njegovih del na papirju, zlasti iz obdobja po drugi vojni.<\/p>\n

Poznavalci v Dal\u00edjevem opusu izpostavljajo trideseta leta 20. stoletja, ko je pripadal pari\u0161kemu krogu nadrealistov. Posebej plodno je bilo leto 1934, ko je imel kar \u0161est samostojnih razstav, po dve v New Yorku in\u00a0 Parizu, po eno pa v Barceloni in Londonu. Leta 1934 je nastalo ve\u010d klju\u010dnih Dal\u00edjevih del, med njimi je tudi serija heliogravur s suho iglo na temo slovitih Maldororjevih spevov, ki so jih pri zalo\u017ebi Skira uporabili kot ilustracije k besedilu grofa Lautr\u00e9amonta (1846\u20131870). Lautr\u00e9amont je bil s svojimi fantasti\u010dnimi vizijami pomemben vzornik nadrealisti\u010dnega gibanja in Luis Bu\u00f1uel in Dal\u00ed sta se mu poklonila s filmom Zlati \u010dasi<\/em> (1930). Dal\u00ed ni dosledno sledil nenavadnim situacijam v Lautr\u00e9amontovi pesnitvi, pa\u010d pa se je osredoto\u010dil na motive, ki jih je so\u010dasno razvijal tudi v slikarstvu, vklju\u010dno z lastno interpretacijo znamenite slike Ve\u010derna molitev<\/em> francoskega realisti\u010dnega slikarja Fran\u00e7oisa Milleta (1857\u20131859). Razlo\u017eil jo je na osnovi Freudove teorije in v podobi oto\u017enega kmeta prepoznal Ojdipov kompleks. Razstava na lendavskem gradu obiskovalce seznanja tudi s tem plodnim Dal\u00edjevim obdobjem, sicer pa glavnina eksponatov datira v \u010das po drugi svetovni vojni.<\/p>\n

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Katedrala palcev<\/strong>
\n 1947, perorisba, 15,8 x 20,8 cm<\/p><\/div>\n

Leta 1940 sta Gala in Salvador Dal\u00ed pobegnila iz Francije v Zdru\u017eene dr\u017eave in tam ostala osem let. Tudi\u00a0 v eksilu je bil nadvse dejaven, dobival je veliko naro\u010dil in delal je na razli\u010dnih podro\u010djih. Med drugim so ga anga\u017eirali kot ilustratorja pri zalo\u017ebi Doubleday v New Yorku. Eseji Michela de Mantaigna so ga je vznemirjal \u017ee dolgo. Spise francoskega renesan\u010dnega misleca je opremil s 37 ilustracijami, med katerimi najdemo tudi podobe palca. \u017de leta 1929 je v reviji L’amic de les arts<\/em> objavil esej z naslovom Osvoboditev palca<\/em>, v katerem se je ukvarjal s simboliko palca in motivom operutni\u010denega falusa, ki so ga v pripro\u0161nji za plodnost \u010dastili v antiki. V Mayerjevi zbirki hranijo risbo s tu\u0161em, naslovljeno Katedrala palcev<\/em>, datirano v leto 1947. \u0160est velikih palcev, ki me\u010dejo dolge in mo\u010dne sence, je razpostavljenih v \u0161iroko odprtem prostoru, prizor pa dopolnjujejo figure, ki spro\u017eajo roke z dvignjenimi palci. V drugi polovici \u0161tiridesetih let je Dal\u00ed zavzel nov odnos do slikarstva in ga predstavil v besedilu z naslovom Petdeset magi\u010dnih skrivnosti<\/em> (1948). Skrivnosti so bolj kot ne pravila tehni\u010dne narave, ki spominjajo na razmi\u0161ljanja renesan\u010dnih mojstrov. Dal\u00ed je z velikim ob\u010dudovanjem \u0161tudiral stare spise in v teh letih tudi sam zastavil slikanje na na\u010din, ki so ga nekateri poimenovali novi klasicizem, hkrati pa se razglasil za biv\u0161ega nadrealista. Vrhunec tega obdobja je slika z naslovom Leda Atomica<\/em> (1949), na kateri je upodobil golo Galo z labodom in drugimi predmeti, kako lebdijo v prostoru. Zgledovanje po renesansi je o\u010ditno, prav tako precizna in poudarjena perspektiva, simetrija in sklici na antiko. Prepoznavna je tudi fascinacija nad dose\u017eki atomske fizike. Eksplozija atomske bombe, ki je simboli\u010dno zaklju\u010dila drugo svetovno vojno, ga je prepri\u010dala, da mora atom postati jedro njegovega prihodnjega razmi\u0161ljanja.<\/p>\n

Leta 1948 se je Dal\u00ed vrnil v \u0160panijo in ostal tam do smrti\u00a0 leta 1989. Javno je izrazil svoje prepri\u010danje v antidemokracijo in absolutno monarhijo ter se poklonil generalu Francu, s \u010dimer si je prislu\u017eil veliko zamer. Mnogi likovnimi kritiki so mu tudi zaradi politi\u010dnih stali\u0161\u010d odrekli umetni\u0161ko in intelektualno avtoriteto. Leta 1951 je v Parizu objavil Misti\u010dni manifest<\/em>, v katerem je pojasnil svoj obrat k neoklasicizmu in ponovno odkritje renesanse.<\/p>\n

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Kristus sv. Janeza od Kri\u017ea<\/strong>
\n 1951, perorisba, 20,5 x 14,5 cm<\/p><\/div>\n

V pregledih Dal\u00edjevega slikarstva so petdeseta leta obi\u010dajno ozna\u010dena kot misti\u010dno-nuklearna faza. Zanimala sta ga askeza in mistika na na\u010din, na kakr\u0161en so ju gojili \u0161panski mistiki renesan\u010dne dobe. \u0160tudiral je pitagorejsko matematiko in spise fran\u010di\u0161kana Luca Paciolija (1445\u20131514) in \u0161panskega arhitekta Juana de Herrera (1530\u20131597), hkrati pa so ga zanimala najnovej\u0161a odkritja atomske fizike, kvantne mehanike in logaritmi\u010dne spirale, ki jih je uzrl npr. v nosorogovemu rogu. Dematerializacija in brezte\u017enost sta bila pojava, ki ju je povezal s skrivnostmi nebe\u0161kega. Prevzela ga je izku\u0161nja karmeli\u010danskega meniha in mistika iz 16. stoletja, sv. Janeza od Kri\u017ea, ki se mu je med molitvijo v samostanu v Avili prikazal Kri\u017eani, svojo vizijo pa je nato narisal. Leta 1641 so risbo shranili v mon\u0161tranco in prav ta risba je navdihnila Dal\u00edja. Sv. Janez od Kri\u017ea je Kristusa narisal v pogledu od zgoraj in nekoliko od strani, spodnji del kri\u017ea pa je odrezal od kompozicije, zato dobimo ob\u010dutek, da Kri\u017eani lebdi v zraku. Tudi Dal\u00ed je svojega Kri\u017eanega<\/em> upodobil v pogledu od zgoraj, vendar ga je centraliziral. Kri\u017e, viden v celoti, lebdi na temnem ozadju neba, pod njim pa se v svetlobi poslednjih son\u010dnih \u017earkov rde\u010dijo oblaki in ble\u0161\u010di bok \u010dolna ob obali, ki jo prepoznamo kot zaliv Port Lligat, kjer sta \u017eivela z Galo.\u00a0 Za sliko, ki jo hranijo v Umetnostni galeriji v Glasgowu, je narejenih precej \u0161tudij, posebej zanimiva pa je najstarej\u0161a med njimi, datirana z letnicama 1950 in 1951 in opremljena z zapisom. V njem Dal\u00ed pojasnjuje, da je imel leta 1950 \u00bbkozmi\u010dne sanje\u00ab, v katerih se mu je risba sv. Janeza od Kri\u017ea prikazala v barvah. O\u010ditno se je o tem pogovarjal s patrom Brunom, pari\u0161kim karmeli\u010danom, in sanjsko vizijo Kristusa narisal kot majhen krog v navzdol obrnjenem trikotniku, kar je tudi kompozicijska zasnova velike slike. Tudi na jedkanici iz Mayerjeve zbirke, na kateri je predstavljen Kristus na kri\u017eu, lebde\u010dem v pokrajini, so z \u017earki, ki se z levega roba lista \u0161irijo proti podobi Kri\u017eanega, v trikotnik povezane to\u010dke na Kristusovem telesu, ki so jih prebili z \u017eeblji.<\/p>\n

S tak\u0161no podobo lebde\u010dega Kristusa je Dal\u00ed opremil svoj Misti\u010dni manifest<\/em>, obstaja pa tudi verzija brez kri\u017ea in krajine. Lebde\u010dega Kri\u017eanega je Dali vkomponiral \u0161e v druga mlaj\u0161a slikarska dela, med drugim je tudi v sredi\u0161\u010du velike kompozicije Assumpta corpuscularia lapislazulina<\/em> (1952), ki predstavlja Marijino vnebovzetje. Marija ima obraz in telo Gale, na njenem prosojnem in razpotegnjenem telesu pa se nad oltarjem ponovi Kristus sv. Janeza od Kri\u017ea, vendar tokrat brez kri\u017ea.<\/p>\n

Dal\u00ed je v spominih zapisal, da je bil njegov najve\u010dji u\u010ditelj Don Juan N\u00fa\u00f1ez Fern\u00e1ndez\u00a0 (1877\u20131963), ki je bil odli\u010den v jedkanici in je Dal\u00edja \u017ee pri dvanajstih letih uvedel v tan\u010dine svetlo-temnega principa in v skrivnosti Rembrandtovih grafi\u010dnih listov. Ko je moral Dal\u00ed zapustiti akademijo v Madridu in se je vrnil v doma\u010di Figueras, mu je o\u010de kupil tiskarski stroj. Dal\u00ed je najraje delal v suhi igli, s katero je pogosto nadgrajeval jedkanice, sicer pa je veliko eksperimentiral. Litografija, ki se mu je v tehnolo\u0161kem smislu zdela nezanimiva in brez prave mo\u010di, se je izkazala prikladna za njegove poskuse. Na kamnito matrico je \u00bbstreljal\u00ab (oz. so streljali njegovi pomo\u010dniki) z litografskimi tu\u0161i, s \u010dimer je dosegal ta\u0161isti\u010dne efekte. Nenavadna tehnika je dobila ime buletizem, po francoski besedi boule<\/em>, ki pomeni krogla. Kroglo, nekak\u0161no bombo, so napolnili s tu\u0161i ali razli\u010dnimi drugimi predmeti in ko se je ob stiku z matrico razletela, je na njej pustila sledi.<\/p>\n

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Madonne
\n (DON QUICHOTTE DE LA MANCHE)<\/strong>
\n 1957 Paris, barvna litografij, 64,5 x 41 cm<\/p><\/div>\n

Kot bibliofil je v hi\u0161i v Port Lligatu hranil veliko knjig. Njegovi \u017eivljenjepisci poro\u010dajo, da je vanje med branjem pisal bele\u017eke in pod\u010drtoval zanimivosti. Nekaj knjig je napisal tudi sam; v nekaterih je opisal svoje \u017eivljenje, v drugih je pojasnjeval svoj umetni\u0161ki credo. Bil pa je tudi cenjen ilustrator. Za ilustracije je v\u010dasih izdelal akvarele, ki so jih nato graverji prenesli na matrice, ve\u010dkrat pa jih je tudi sam vrezal v matrice. Tehniko buletizma je prvi\u010d uporabil, ko je pripravljal ilustracije za Don Kihota<\/em> (1957). Zalo\u017enik je vztrajal pri litografiji, zato je za\u010del eksperimentirati. V kamnite plo\u0161\u010de je streljal iz stare pu\u0161ke, svin\u010dene krogle pa napolnil z litografskim \u010drnilom. Po\u0161kodbe na plo\u0161\u010di je opisal kot \u00bbbo\u017eje made\u017ee, nekak\u0161ne angelske peruti, zgrajene iz zraka in dinami\u010dne mo\u010di\u00ab. Naklju\u010dne po\u0161kodbe plo\u0161\u010d je izkoristil kot kompozicijska izhodi\u0161\u010da, motivno je zajemal iz svojega znanega repertoarja, se navdihoval pri renesan\u010dnih mojstrih, hkrati pa vpletel sodobne teme, ki so ga takrat vznemirjale. Tako med listi najdemo tudi podobo nuklearnega mlina na veter, kjer se nad figuro srednjeve\u0161kega viteza groze\u010de dviga antropomorfiziran oblak atomske eksplozije. V liste pa so odtisnjene tudi sledi prastarih \u017eivali\u00a0 (pol\u017ejih hi\u0161ic, amonitov); Dal\u00ed je namre\u010d zahteval plo\u0161\u010de iz apnenca z veliko vsebnostjo fosilov, ki jih pridobivajo v bavarskem Solnhofnu.<\/p>\n

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All in the Golden Afternoon<\/strong>
\n (Alica v \u010dude\u017eni de\u017eeli)
\n 1969 New York, jedkanica, 43 x 58 cm<\/p><\/div>\n

Od srede \u0161estdesetih let si je Dal\u00ed motive vse pogosteje izposojal pri drugih avtorjih. Tako je v dogovoru z\u00a0 zalo\u017enikom Pierrom Argilletom predelal Picassovo Tavromahijo<\/em> iz leta 1957, pri \u010demer ga je navdihovala tudi Goyeva serija jedkanic z enako tematiko. Akvarele za serijo Nadrealisti\u010dna Tavromahija<\/em> (1966\/67) je predal grafi\u010dnim mojstrom, da so jih natisnili v tehniki heliogravure. Goya in Picasso sta izhajala iz fascinacije nad ritualnim zakolom bika in dogajanjem v areni, Dal\u00ed pa je vsebino posodobil; v posameznih listih prepoznavamo detajle iz njegovih drugih kompozicij, list z naslovom Televizija<\/em> (prizor je ujet v okvir televizijskega ekrana) pa zajema iz poparta. Podobno je pripravil predloge za Alico v \u010dude\u017eni de\u017eeli<\/em> Lewisa Carrolla, ki so bile odtisnjene kot barvne heliogravure (1968\/69). V Mayerjevi zbirki sta poleg grafi\u010dne serije ohranjeni tudi dve predlogi v tehniki gva\u0161a. Domi\u0161ljijsko bogat svet znamenite zgodbe je ustrezal Dal\u00edjevemu smislu za nadrealno. Deklica, ki vihti kolebnico, je prepoznaven lik Alice, kot rde\u010da nit celote pa delujejo tudi realisti\u010dno zvesti metulji in hro\u0161\u010di. \u017divopisan zna\u010daj serije ka\u017ee povezati z Dal\u00edjevim zanimanjem za so\u010dasno hipijevsko gibanje. Kompozicije narativno sledijo literarni predlogi, a na njih se soo\u010damo tudi z zna\u010dilnimi Dal\u00edjevimi motivi, npr. z mehkimi urami. Podobno barvito je zastavljena serija barvnih litografij na temo Carmen<\/em>. Slikar je sledil prizorom iz znamenite opere Georgea Bizeta tako, kot so se odvijali na odru, vmes pa je nanizal nekaj portretov glavnih junakov.<\/p>\n

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LE PIANO SOUS LA NEIGE (TAUROMACHIE SURR\u00c9ALISTE)<\/strong>
\n (Nadrealisti\u010dna Tavromahija)
\n 1967 Paris, suha igla in akvatinta, 51 x 66 cm<\/p><\/div>

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DIX RECETTES D’IMMORTALIT\u00c9<\/strong>
\n Deset receptov za nesmrtnost
\n 1973 Paris, kov\u010dek iz pleksi stekla, 65 x 56 x 10 cm<\/p><\/div><\/p>\n

Prav posebno mesto v poznem opusu Salvadorja Dal\u00edja in tudi na razstavi v lendavskem gradu priti\u010de knjigi-objektu, ki jo je slikar naslovil Deset receptov za nesmrtnost<\/em> (1973). V kov\u010dku iz pleksi stekla, z ro\u010dajem v obliki telefona in s klju\u010davnicama v obliki jajc na oko, je shranjenih ve\u010d grafi\u010dnih listov (prete\u017eno gre za suhe igle), deloma v obliki zgibank. Dal\u00ed je pri oblikovanju knjige-objekta upo\u0161teval stereoskopsko tehniko, ki jo je odkrival ob preu\u010devanju del holandskega slikarja Gerrita Doua (1613\u20131675). Ugotovil je, da se v \u010dlove\u0161kih mo\u017eganih dve dve skoraj, ne pa povsem enaki ploskoviti sliki, ki upodabljata isti motiv v nekoliko spremenjenih zornih kotih, zdru\u017eita v eno podobo z izrazitim trodimenzionalnim prostorskim u\u010dinkom. Nad ugotovitvijo je bil navdu\u0161en in v sedemdesetih letih ga je binakularna metoda zelo zaposlovala. Povezoval jo je z najve\u010djimi fizikalnimi odkritji in v njej odkrival bo\u017eje zakonitosti, \u010disto energijo in vir nesmrtnosti. Deset receptov za nesmrtnost<\/em> temelji na znanstvenih spoznanjih, ki so tako ali druga\u010de povezana s \u010dlovekovo ve\u010dno te\u017enjo po neumrljivosti, zaradi \u010desar je bil v stikih s \u0161tevilnimi strokovnjaki. Vpra\u0161anje smrti ga je mu\u010dilo tudi na osebni ravni in med upodobitvami z raznolikimi motivi, oprtimi na starej\u0161o umetnost, sakralno simboliko in na znan dal\u00edjevski nadrealisti\u010dni repertoar, je tudi trodelna zgibanka s pomenljivim naslovom Stereoskopska nesmrtnost monarhije<\/em> (tudi Nesmrtna monarhija<\/em>), ki jo lahko pove\u017eemo z Dal\u00edjevim prepri\u010danjem o edini pravi politi\u010dni ureditvi.<\/p>\n

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MOSES (MO\u012aSE ET LE MONOTH\u00c9ISME)<\/strong>
\n (Mojzes in monoteizem)
\n 1974 Paris\/Nice, lesorez, 65,5 x 49,7 cm<\/p><\/div>\n

V kov\u010dku, vendar usnjenem, so shranjeni tudi grafi\u010dni listi (jedkanice preko barvnih litografij, tiskane na \u017eivalsko ko\u017eo), naslovljeni Mojzes in monoteizem<\/em> (1974). Kov\u010dek krasi posrebren relief Mojzesa po Michelangelu. Grafikam je prilo\u017eena Freudova razprava Mo\u017e Mojzes in monoteisti\u010dna religija<\/em> (1939). Izbira vsebine temelji na Dal\u00edjevem vsesplo\u0161nem zanimanju za Freuda, a tudi na njegovem specifi\u010dnem odnosu do avtoritativnega o\u010deta, ki je imel navado vrteti med prsti \u0161op las, da se je ustvarila spirala, ki je \u0161trlela nad o\u010detovo pri\u010desko podobno kot Mojzesov rog.<\/p>\n

Razstavo kronolo\u0161ko zaklju\u010duje akvarel z upodobitvijo dveh mehkih ur (1978). \u017depne ure, ki se upogibajo in raztegujejo kot nekak\u0161ni mlahavi jeziki, so verjetno najbolj prepoznaven motiv iz obse\u017enega nabora nenavadnih predmetov na Dal\u00edjevih slikah. Prvi\u010d jih je upodobil leta 1931 na sliki Vztrajnost spomina<\/em> (zdaj v Muzeju moderne umetnosti v New Yorku). Obi\u010dajno jih interpretiramo tako, da simbolizirajo relativnost prostora in \u010dasa, \u010deprav je slikar sam povedal, da ga je navdihnil ko\u0161\u010dek sira, ki se je zmeh\u010dal v pretoplem ozra\u010dju. Mehke ure pogosto nastopajo kot nasprotje elementu trdega, saj so Dal\u00edja privla\u010dile dvojice v kontrapunktnem razmerju.<\/p>\n

Salvador Dal\u00ed je eden najbolj znanih umetnikov 20. stoletja, zelo svojstven in tudi kontroverzen. Ni se podrejal ute\u010denim tokovom in njegovo delo je bilo dele\u017eno razli\u010dnih ocen. Zavra\u010dali so ga nekateri eminentni kritiki, med njimi Clement Greenberg (1909\u20131994), imel pa je tudi veliko ob\u010dudovalcev in sledilcev. Preu\u010devanje njegovega opusa iz ve\u010dje \u010dasovne distance pridobiva raziskovalno objektivnost in lahko si obetamo nova dognanja, ki nam bodo pribli\u017eala zapleteno ustvarjalno slo nenavadnega slikarja iz Katalonije. Z nadrealizmom so se \u017ee pred drugo vojno seznanili tudi slovenski ustvarjalci. Stane Kregar (1905\u20131973) ga je spoznal med \u0161tudijem v Pragi s pomo\u010djo revijalnih objav in ob delih \u010de\u0161kih nadrealistov, v Parizu pa je lahko v letih 1937 in 1938 neposredno preu\u010deval Dal\u00edjeva dela iz obdobja paranoi\u010dno-kriti\u010dne metode. Toma\u017e Brejc ugotavlja, da Kregar ni sprejel Dal\u00edjevega radikalnega pristopa. Zapisal je \u0161e, da ga je katalonski slikar navdihoval s posameznostmi, ki si jih je sposodil in prenesel v lastne kompozicije ter izoblikoval svojo varianto nadrealizma, ozna\u010deno z \u00bbreligiozno-ruralno slovensko mizansceno tridesetih let\u00ab. V zapu\u0161\u010dini ptujskega slikarja Albina Lugari\u010da (1927\u20132014) pa se je ohranila lavirana risba s hudomu\u0161no podobo slavnega Katalonca, ki ga nadle\u017ena muha obmetava z jajci.<\/p>\n

dr. Marjeta Ciglene\u010dki<\/strong>, art historian<\/p>\n

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SELECTED WORKS<\/h2>\n

\"Pujs<\/a> \"Gosenica<\/a> \"CARMEN\"<\/a> \"CARMEN\"<\/a> \"CARMEN\"<\/a> \"CARMEN\"<\/a> \"LE<\/a> \"CARMEN\"<\/a> \"CARMEN\"<\/a> \"Attaque<\/a> \"IMMORTALIT\u00c9<\/a> \"LA<\/a> \"Mad<\/a> \"16<\/a> \"12<\/a> \"S.N.C.F\"<\/a><\/p>\n

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PUBLICATION<\/h2>\n