Salvador Dalí

Page: Ballerina in a Death's Head Artist: Salvador Dali Completion Date: 1939 Style: Surrealism Genre: symbolic painting Technique: oil Material: canvas Dimensions: 24.5 x 19.5 cm This painting is an example of Dali’s paranoiac-critical method, developed in the early 1930s. The aspect of paranoia that Dalí was interested in was the ability of the brain to perceive links between things which rationally are not linked. Dalí described the paranoiac-critical method as a "spontaneous

method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena." Employing the method when creating a work of art uses an active process of the mind to visualize images in the work and incorporate these into the final product. An example of the resulting work is a double image or multiple image in which an ambiguous image can be interpreted in different ways.

Bailarina en cabeza de muerte Año: 1939 Estilo: Surrealismo Género: Pintura simbólica Artista: Salvadaor Dalí Técnica: óleo Materia: lienzo

Page: The Persistence of Memory Artist: Salvador Dali Completion Date: 1931 Style: Surrealism Genre: symbolic painting Technique: oil Material: canvas Dimensions: 24.1 x 33 cm Gallery: Museum of Modern Art, New York, USA

The Persistence of Memory is by far Salvador Dali’s most recognizable painting, and there are many references to it in popular culture. Although it was conjectured that the soft melting watches were the result of Dali’s interpretation of the theory of relativity, Dali himself state that their inspiration was camembert cheese melting under the sun. The sequence of melting clocks in a disjointed landscape is the depiction of a dream that Dali had experienced, the figure in the middle of the painting being the face

of the dreamer himself. The general interpretation is that the painting, which portrays many melting watches, is a rejection of time as a solid and deterministic influence. This iconic and much-reproduced painting depicts time as a series of melting watches surrounded by swarming ants that hint at decay, an organic process in which Dali held an unshakeable fascination. Elaborated in the frontispiece to the Second Surrealist Manifesto, the seminal distinction between hard and soft objects, associated by Dali with

order and putrefaction respectively, informs his working method in subverting inherent textual properties: the softening of hard objects and corresponding hardening of soft objects. It is likely that Dali was using the clocks to symbolize mortality (specifically his own) rather than literal time, as the melting flesh in the painting's center is loosely based on Dali's profile. The cliffs that provide the backdrop are taken from images of Catalonia, Dali's home.

La Persistencia de la memoria 1931

Page: Double Image for 'Destino' Artist: Salvador Dali Completion Date: 1946 Style: Neoclassicism, Surrealism Series: 'Destino' Genre: design

From Wikipedia, the free encyclopedia : Destino is an animated short film released in 2003 by The Walt Disney Company. Destino is unique in that its production originally began in years before its eventual completion. The project was originally a collaboration between Walt Disney and Spanish Surrealist painter Salvador Dalí, and features music written by Mexican songwriter Armando Dominguez and performed by Dora Luz. It was included in the Animation Show of Shows in 2003.

Destino (Spanish for destiny) was storyboarded by Disney studio artist John Hench and artist Salvador Dalí for eight months in late 1945 and 1946; however production ceased not long after. The Walt Disney Company, then Walt Disney Studios, was plagued by financial woes in the World War II era. Hench compiled a short animation test of about 17 seconds in the hopes of rekindling Disney's interest in the project, but the production was no longer deemed financially viable and put on indefinite hiatus.

In 1999, Walt Disney's nephew Roy E. Disney, while working on Fantasia 2000, unearthed the dormant project and decided to bring it back to life. Disney Studios France, the company's small Parisian production department, was brought on board to complete the project. The short was produced by Baker Bloodworth and directed by French animator Dominique Monféry in his first directorial role. A team of approximately 25 animators deciphered Dalí and Hench's cryptic storyboards (with a little

help from the journals of Dalí's wife Gala Dalí and guidance from Hench himself), and finished Destino's production. The end result is mostly traditional animation, including Hench's original footage, but it also contains some computer animation.

Imagen doble para Destinos Artista: Salvador Dali Fecha: 1946 Estilo: Neoclasismo, Surrealismo Serie: 'Destino' Género: deseño