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Portrait of Gala with two lamb chops balanced on her shoulder, 1933  
Whatever the future judgement of Salvador Dali [1904-1989] may be, it cannot be denied that he has an unique place in the history of modern art. His fame has been an issue of controversy, kept alive as much by Dali's own provocative exhibitionism as by the critics and press, who have so consistently condemned him for his excesses: 'neurotic', 'egocentric' and 'mad' are words not infrequently used when referring to him.

"Every morning when I wake up, I experience exquisite joy - the joy of being Salvador Dali...". - Salvador Dali

"The only difference between me & a madman is that I am not mad." - Salvador Dali
Invisible Afghan with the Apparition on the Beach of the Face of Garcia Lorca in the Form of a Fruit Dish with Three Figs, 1938 Soft Construction with Boiled Beans - Premonition of Civil War, 1936
The title of Invisible Afghan with the Apparition refers to Frederico Garcia Lorca, with whom Dalн formed an intense relationship with in the early Twenties. Lorca was shot and killed in the Spanish Civil War in 1936; this may explain his "apparition" in this painting.

Invisible Afghan is a visual illusion that consists of many objects that, when viewed together, are interpreted by the eye to be one of three possible images. The strongest image is a face that comprizes an urn and two men's heads. A fruit dish with pears also appears, formed by the shape of the rocks against the sea with the urn becoming the base. The third image is that of a very vague dog, formed by the swirling clouds, the head resting on the cliffs, its paws painted in sketchily

Surrealism Reviewed  (Amazon.UK) 
Omelette About to Be Irreparably Crushed by Hands, 1934

 

Dali POUR FEMME par Salvador Dali - 100 ml Parfum de Toilette Vaporisateur  
Soft Skulls with Fried Egg Without the Plate, Angels and Soft Watch in an Angelic Landscape, 1977 Still Life with Aubergines, 1922
Soft Self-portrait with Grilled Bacon, 1941 The Progress of "Tuna Fishing", circa 1966-67
 
Surrealist Dinner on a Bed (Drawing for a Film Project with the Marx Brothers), 1937 Still Life - Fish, 1922

See also

Goya

and

Silence of the Lambs

 
Salvador Dali’s Autumn Cannibalism  

This complex painting portrays a couple fusing together in a kiss, quite literally devouring one another. The images of love and food are thoroughly mixed together, an impossible scene rendered in a very realistic style, creating a very vivid portrayal of an emotional experience with many possible interpretations.

The landscape in the background is particularly realistic. On the left side, a steep rock rises above a yellowish plane and casts its shadow. On the right are more distant mountains, and a verdant valley with a single building and a possibly cultivated red field. However, the landscape is essentially just a background for the more striking forms in front.

The figures are very amorphous without facial features besides ears, and a somewhat unnatural skin tone. It may take some careful inspection to discern that the figure on our right is most probably male, and the left must be female because blobs that appear something like breasts spill from her shirt onto the table. It is unclear if they are standing, sitting, or if they even have lower bodies, although it does seem that they are leaning on the green table.


This table has a partly open drawer in the bottom right. An ambiguous form, possibly an animal’s tongue or other food item, is nailed to the table just above this drawer. Nuts, a peeled apple, half a loaf of bread and other vaguely food-like shapes rest on the table and on the woman’s left breast. All of the objects cast dramatic shadows that stretch leftward across the canvas.

The man wears a white shirt. His left shoulder is behind a mix of patches that cannot be clearly identified. He is behind another wooden drawer that holds a fork and spoon. His left hand somewhat gracefully holds a spoon, and his right hand grasps at the side of the woman’s right breast. On tope of his head is a yellow apple, which draws a fair amount of visual attention although it is fairly senseless. It seems to accentuate the flat oblong shape of the top of the man’s head.


The woman’s shirt is red, which echoes the red field in the background on the right. Her right arm and ripples hand very awkwardly reaches a fork towards the couple’s fused head. Her left arm stretches behind the man’s neck, where she uses a knife to cut her own left breast. This breast is a very tan colour and has the small objects on it that look like food or stones. Her right breast is very pale white, sort of pooling into a bowl on the table, being pinched by the man’s one hand and being cut with his spoon higher up. Across the middle of her face is a sort of light wound where flesh has been peeled away, reminiscent of the apple on the table and ants swarm around.

Brian Zbriger