Salvador Dalí

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Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11 1904 – January 23 1989), was a Spanish surrealist painter born in Figueres, Catalonia.

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.<ref name=Dali>Dalí, Salvador. (2000) Dalí: 16 Art Stickers, Courier Dover Publications. ISBN 0-486-41074-9.</ref> His best known work, The Persistence of Memory, was completed in 1931.

Salvador Dalí's artistic repertoire also included film, sculpture, and photography. He collaborated with Walt Disney on the Academy Award-nominated short cartoon Destino, which was released posthumously in 2003. He also collaborated with Alfred Hitchcock on Hitchcock's film Spellbound.

Dalí insisted on his "Arab lineage", claiming that his ancestors were descended from the Moors who occupied Southern Spain for nearly 800 years (711-1492), and attributed to these origins, "my love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes."<ref>Modèle:Cite book Gibson found out that "Dalí" (and its many variants) is an extremely common surname in Arab countries like Morocco, Tunisia, Algeria or Egypt. On the other hand, also according to Gibson, Dalí's mother family, the Domènech of Barcelona, had Jewish roots.</ref>

Widely considered to be greatly imaginative, Dalí had an affinity for doing unusual things to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork.<ref>Saladyga, Stephen Francis. "The Mindset of Salvador Dalí". lamplighter (Niagara University). Vol. 1 No. 3, Summer 2006. Retrieved July 22 2006.</ref> The purposefully-sought notoriety led to broad public recognition and many purchases of his works by people from all walks of life.

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Biography

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Early life

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Self-portrait — by teenage Dalí in 1921

Dalí was born on May 11, 1904, at 8:47 am GMT<ref> According to his birth certificate. Salvador Dalí astrological chart on astrotheme.fr. Accessed 30 September 2006.</ref> in the town of Figueres, in the Empordà region close to the French border in Catalonia, Spain.<ref>Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33</ref> Dalí's older brother, also named Salvador (b. October 12, 1901), had died of gastroenteritis, nine months earlier, on August 1, 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary<ref name=Llongueras>Llongueras, Lluís. (2004) Dalí, Ediciones B — Mexico. ISBN 84-666-1343-9.</ref> whose strict disciplinarian approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.<ref name=Rojas>Rojas, Carlos. Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait, Penn State Press (1993). ISBN 0-271-00842-3.</ref> When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,<ref name=sina>Salvador Dalí. SINA.com. Retrieved on July 31 2006.</ref> which he came to believe.<ref>Salvador Dalí biography on astrodatabank.com. Accessed 30 September 2006.</ref> Of his brother, Dalí said: "… [we] resembled each other like two drops of water, but we had different reflections."<ref>Dalí, Secret Life, p.2</ref> He "was probably a first version of myself but conceived too much in the absolute."<ref>Dalí, Secret Life, p.2</ref>

Dalí also had a sister, Ana María, who was three years younger.<ref name=Llongueras /> In 1949 she published a book about her brother, Dalí As Seen By His Sister.<ref> Dalí Biography 1904–1989 — Part Two

. Retrieved on 2006-09-30. </ref> His childhood friends included future FC Barcelona footballers, Sagibarbá and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.

Dalí attended drawing school. In 1916 Dalí also discovered modern painting on a summer vacation to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.<ref name=Llongueras /> 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 Theater in Figueres in 1919.

In February 1921, Dalí’s mother died of breast cancer. Dalí was sixteen 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."<ref>Dalí, Secret Life, pp.152–153</ref> After her death, Dalí’s father married his deceased wife’s sister. Dalí did not resent this marriage as some do think, because he had a great love and respect toward his aunt.<ref name=Llongueras />

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Madrid and Paris

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Wild-eyed antics of Dalí (left) and fellow surrealist artist Man Ray in Paris on June 16, 1934, photographed by Carl Van Vechten

In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid<ref name=Llongueras /> and there studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m <ref>As listed in his prison record of 1924, aged 20. However, his hairdresser and biographer, Luis Llongueras, states Dalí was 1.74 m tall.</ref> tall dandy, Dalí already drew attention as an eccentric, wearing long hair and sideburns, coat, stockings and knee breeches in the fashion style of the English aesthetes of the late 19th century. But his paintings, where he experimented with Cubism, earned him the most attention from his fellow students. In these earliest Cubist works, he probably did not completely understand the movement, since his only information on Cubist art came from a few magazine articles and a catalogue given to him by Pichot, and there were no Cubist artists in Madrid at the time.

Dalí also experimented with Dada, which influenced his work throughout his life. At the Residencia, he became close friends with, among others, Pepín Bello, Luis Buñuel, and the poet Federico García Lorca. The friendship with Lorca had a strong element of mutual passion,<ref>For more in-depth information about the Lorca-Dalí connection see Lorca-Dalí: el amor que no pudo ser and The Shameful Life of Salvador Dalí, both by Ian Gibson.</ref> but Dalí fearfully rejected the erotic advances of the poet.<ref name=coversations>Bosquet, Alain, Conversations with Dalí, 1969. p. 19-20. (Portable Document File) (of Garcia Lorca) 'S.D.:He was homosexual, as everyone knows, and madly in love with me. He tried to screw me twice .... I was extremely annoyed, because I wasn’t homosexual, and I wasn’t interested in giving in. Besides, it hurts. So nothing came of it. But I felt awfully flattered vis-à-vis the prestige. Deep down I felt that he was a great poet and that I owe him a tiny bit of the Divine Dalí's asshole.'</ref>

Dalí was expelled from the Academia in 1926 shortly before his final exams when he stated that no one on the faculty was competent enough to examine him.<ref name=olga>Salvador Dalí: Olga's Gallery. Retrieved on July 22, 2006.</ref> His mastery of painting skills is well documented by that time in his flawlessly realistic Basket of Bread, which was painted in 1926.<ref>http://www.dali-gallery.com/html/galleries/painting05.htm</ref> That same year he made his first visit to Paris where he met with Pablo Picasso, whom young Dalí revered. Picasso had already heard favorable things about Dalí from Joan Miró. Dalí did a number of works heavily influenced by Picasso and Miró over the next few years as he developed his own style.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences of all styles of art he could find and then produced works ranging from the most academically classic to the most cutting-edge avant-garde,<ref>Hodge, Nicola, and Libby Anson. The A–Z of Art: The World's Greatest and Most Popular Artists and Their Works. California: Thunder Bay Press, 1996. Online citation.</ref> sometimes in separate works and sometimes combined. Exhibitions of his works in Barcelona attracted much attention and mixtures of praise and puzzled debate from critics.

Dalí grew a flamboyant moustache, which became iconic of him; it was influenced by that of seventeenth century Spanish master painter Diego Velázquez.

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1929 through World War II

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The Persistence of Memory (1931) is one of Dalí's most famous works

In 1929, Dalí collaborated with the surrealistic film director Luis Buñuel on the short film Un chien andalou (An Andalusian Dog). He was mainly responsible for helping Buñuel write the script for the film.

Dalí later claimed to have been more heavily involved in the filming of the project, but this is not substantiated by contemporary accounts.<ref>Koller, Michael. Un Chien Andalou. senses of cinema January 2001. Retrieved on July 26, 2006.</ref>

Also that year he met his muse, inspiration, and future wife Gala,<ref name=unbound>Shelley, Landry. "Dalí Wows Crowd in Philadelphia". Unbound (The College of New Jersey) Spring 2005. Retrieved on July 22, 2006.</ref> born Elena Ivanovna Diakonova, a Russian immigrant eleven years his senior who was then married to the 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 (although his work had already been heavily influenced by surrealism for two years). The surrealists hailed what Dalí called the Paranoiac-critical method of accessing the subconscious for greater artistic creativity.<ref name=Llongueras /><ref name=Rojas />

In 1931, Dalí painted one of his most famous works, The Persistence of Memory.<ref>Clocking in with Salvador Dalí: Salvador Dalí’s Melting Watches (PDF) from the Salvador Dalí Museum. Retrieved on August 19 2006.</ref> Sometimes called Soft Watches or Melting Clocks, the work introduced the surrealistic image of the soft, melting pocket watch.

The general interpretation of the work is that the soft watches debunk the assumption that time is rigid or deterministic, and this sense is supported by other images in the work, such as the wide expanding landscape and the ants and fly devouring the other watches.<ref name=Conquete>Salvador Dalí, La Conquête de l’irrationnel (Paris: Éditions surréalistes, 1935), p. 25.</ref>

Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony (They remarried in a Catholic ceremony in 1958).

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On Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening (1944) Dalí said, "the noise of the bee here causes the sting of the dart that will wake Gala"

Dalí was introduced to America by art dealer Julian Levy in 1934, and the exhibition of Dalí works (including Persistence) in New York created an immediate sensation. Social Register listees feted him at a specially organized "Dali Ball". He showed up wearing on his chest a glass case containing a brassiere. <ref> Current Biography 1940, pp219-220 </ref>

In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture entitled Fantomes paranoiaques authentiques was delivered wearing a deep-sea diving suit.<ref>Jackaman, Rob. (1989) Course of English Surrealist Poetry Since the 1930s, Edwin Mellen Press. ISBN 0-88946-932-6.</ref>

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." <ref> Current Biography 1940, p219 </ref>

Dali, instead of condemning Hitler as his fellow surrealists, developed an obsessive interest in what he called "the Hitler phenomenon" which was frowned upon by his predominantly Marxist surrealist colleagues. Then, when Francisco Franco came to power in the aftermath of the Spanish Civil War, Dalí was one of the few Spanish intellectuals supportive of the new regime <ref>[1]</ref> which eventually resulted in his official expulsion from the surrealist group.<ref name=unbound /> At this, Dalí retorted, "Le surréalisme, c'est moi."<ref name=olga /> André Breton coined the anagram "avida dollars" (for Salvador Dalí), which more or less translates to "eager for dollars,"<ref name=artcyclopedia>Artcyclopedia: Salvador Dalí. Retrieved September 4, 2006.</ref> by which he referred to Dalí after the period of his expulsion. The surrealists henceforth spoke of Dalí in the past tense, as if he was dead. At this stage his main patron was the very wealthy Edward James.

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.

"During this period Dali never stopped writing," wrote Robert and Nicolas Descharnes. <ref> Descharnes, Robert and Nicolas. Salvador Dali. New York: Konecky & Konecky, 1993. p. 35. </ref> "In 1941, he drafted a film scenario for Jean Gabin called Moontide. He wrote catalogs for his exhibitions like that at the Knoedler Gallery [in New York City in 1943] where he expounded, '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 have reached their paroxysm in the psychological signification of the current use of the college.' He also wrote a novel ... published ... in 1944 ... about a fashion salon for automobiles. This got a drawing by Edwin Cox in The Miami Herald showing him dressing an automobile in an evening gown."<ref> Descharnes, Robert and Nicolas. Salvador Dali. New York: Konecky & Konecky, 1993. p. 35. </ref>

As World War II started in Europe, Dalí and Gala moved to the United States in 1940, where they lived for eight years. After the move, Dalí returned to the practice of Catholicism. In 1942, he published his autobiography, The Secret Life of Salvador Dalí.

An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947. <ref>Dalí's gift to exorcist uncovered Catholic News 14 Oct. 2005</ref> The friar's estate contained a sculpture of Christ on the cross which Dalí had given his exorcist to thank him. <ref>Dali's gift to exorcist uncovered Catholic News 14 Oct. 2005</ref> The sculpture was discovered in 2005 and two Spanish experts in Surrealism confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí. <ref>Dalí's gift to exorcist uncovered Catholic News 14 Oct. 2005</ref>

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Later years in Catalonia

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Dalí Theatre and Museum in Figueres

Starting in 1949, Dalí spent his remaining years back in his beloved Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and many other artists.<ref name=navarro>Navarro, Vicente, Ph.D. "The Jackboot of Dada: Salvador Dalí, Fascist". Counterpunch. December 6, 2003. Retrieved July 22, 2006.</ref> As such, it is probable that at least some of the common dismissal of Dalí's later works had more to do with politics than the actual merits of the works themselves. In 1959, André Breton organized an exhibit called, Homage to Surrealism, celebrating the Fortieth Anniversary of Surrealism, which contained works by Salvador 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.<ref name=lopez>López, Ignacio Javier. The Old Age of William Tell (A study of Buñuel's Tristana). MLN 116 (2001): 295–314.</ref>

Late in his career, Dalí did not confine himself to painting but experimented with many unusual or novel media and processes: he made bulletist works<ref name=bp>The Phantasmagoric Universe—Espace Dalí À Montmartre. Bonjour Paris. Retrieved on August 22, 2006.</ref> and was among the first artists to employ holography in an artistic manner.<ref name=holo>The History and Development of Holography. Holophile. Retrieved on August 22, 2006.</ref> Several of his works incorporate optical illusions. In his later years, young artists like Andy Warhol proclaimed Dalí an important influence on pop art.<ref name=warhol>Hello, Dalí. Carnegie Magazine. Retrieved on August 22, 2006.</ref> Dalí also had a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably in the 1950s when he painted his subjects as composed of rhinoceros horns, signifying divine geometry (as the rhinoceros horn grows according to a logarithmic spiral) and chastity (as Dalí linked the rhinoceros to the Virgin Mary).<ref>Elliott H. King in Dawn Ades (ed.), Dalí, Bompiani Arte, Milan, 2004, p. 456.</ref> Dalí was also fascinated by DNA and the hypercube - a 4-dimensional cube - and an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus).

Dalí’s post-World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science and religion. Increasingly Catholic, and inspired by the shock of Hiroshima, he labeled this period "Nuclear Mysticism". In paintings such as The Madonna of Port-Lligat (first version) of 1949 and Corpus Hypercubus, 1954, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.<ref>Salvador Dalí Bio, Art on 5th Retrieved July 22 2006.</ref> “Nuclear Mysticism” included such notable pieces as La Gare de Perpignan, 1965, and Hallucinogenic Toreador, 1968–1970. In 1960, Dalí began work on the Dalí Theatre and Museum in his home town of Figueres; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s.

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Crucifixion (Corpus Hypercubus) (1954)

In 1968, Dalí filmed a television advertisement for Lanvin chocolates<ref>Salvador Dali at Le Meurice Paris and St Regis in New York Andreas Augustin, ehotelier.com, 2007</ref> and in 1969 designed the Chupa Chups logo. Also in 1969, He was responsible for creating the advertising aspect of the 1969 Eurovision Song Contest, and created a large metal sculpture, which stood on the stage at the Teatro Real in Madrid.

In the television programme Dirty Dalì: A Private View broadcast on Channel 4 on June 3, 2007, the 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.<ref>Scotsman review of Dirty Dalí</ref><ref>The Dali I knew By Brian Sewell, thisislondon.co.uk</ref>

In 1980, Dalí's health took a catastrophic turn. His near-senile wife Gala was dosing him with a dangerous cocktail of non-prescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic ability. At 76 years old, the 'ever-healthy' Dalí was a complete wreck, his right hand trembling terribly, Parkinson-like.<ref>Ian Gibson (1997). The Shameful Life of Salvador Dali. W. W. Norton & Company. </ref>

In 1982, King Juan Carlos of Spain bestowed on Dalí the title Marquis of Pubol, for which Dalí later paid him by giving him a drawing (Head of Europa, which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.

Gala died on June 10, 1982. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself—possibly as a suicide attempt, possibly in an attempt 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 he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom<ref>"Dalí Resting at Castle After Injury in Fire". The New York Times. September 1, 1984. Retrieved July 22, 2006</ref> under unclear circumstances—possibly a suicide attempt by Dalí, possibly simple negligence by his staff.<ref name=olga /> In any case, Dalí was rescued 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 for his final years.

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The Temptation of St. Anthony (1946) contained Dalí's symbolic elephant, Musee d'Art Moderne in Brussels

There have been allegations that his guardians forced Dalí to sign blank canvasses that would later (even after his death) be used and sold as originals.<ref name="scandal">Modèle:Cite book</ref> As a result, art dealers tend to be wary of late works attributed to Dalí. He died of heart failure at Figueres on January 23, 1989 at the age of 84, and he is buried in the crypt of his Teatro Museo in Figueres.

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Symbolism

Dalí employed extensive symbolism in his work. For instance, the hallmark soft watches that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed.<ref name=Conquete /> The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese during a hot day in August.<ref>Salvador Dalí, The Secret Life of Salvador Dalí (New York: Dial Press, 1942), p. 317.</ref>

The elephant is also a recurring image in Dalí's works. It first 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,<ref>Michael Taylor in Dawn Ades (ed.), Dalí (Milan: Bompiani, 2004), p. 342</ref> are portrayed "with long, multi-jointed, almost invisible legs of desire"<ref name=countycollection>Dalí Universe Collection. County Hall Gallery. Retrieved on July 28, 2006.</ref> 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."<ref name=countycollection /> … 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;<ref name=symb>"Salvador Dalí's symbolism". County Hall Gallery. Retrieved on July 28, 2006</ref> it appears in The Great Masturbator and The Metamorphosis of Narcissus. Various animals appear throughout his 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.<ref name=symb />

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Endeavors outside painting

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Rinoceronte vestido con puntillas (1956), Puerto José Banús

Dalí was a versatile artist, not limiting himself only to painting in his artistic endeavors. Some of his more popular artistic works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas.

Two of the most popular objects of the surrealist movement were the Lobster Telephone and the Mae West Lips Sofa, completed by Dalí in 1936 and 1937, respectively. The Scottish patron Edward James commissioned both of these pieces from Dalí; James, an eccentric who had inherited a large English estate when he was five, was one of the foremost supporters of the surrealists in the 1930s.<ref name=natgalaust> Lobster telephone. National Gallery of Australia. Retrieved on August 4, 2006.</ref> "Lobsters and telephones had strong sexual connotations for [Dalí]" according to the display caption for the Lobster Telephone at the Tate Gallery, "and he drew a close analogy between food and sex."<ref name=tate> Tate Collection | Lobster Telephone by Salvador Dalí. Tate Online. Retrieved on August 4, 2006.</ref> The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia.<ref name=natgalaust />

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Gala in the window (1933), Marbella

The wood and satin Mae West Lips Sofa was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating.<ref name=unbound /> West was previously the subject of Dalí's 1935 painting The Face of Mae West. The Mae West Lips Sofa currently resides at the Brighton and Hove Museum in England.

During the years between 1941 and 1970 Dalí was also responsible for creating a striking ensemble of jewels, 39 in total. The jewels created are intricate and some contain actual moving parts. The most famous jewel created by Dalí, "The Royal Heart", is crafted using gold and is encrusted with forty-six rubies, forty-two diamonds and four emeralds, and is created in such a way that the center "beats" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist." (Dalí, 1959.) The Dali —Joies (The Jewels of Dali) collection can be seen at the Dali Theater Museum in Figueres, Catalonia, Spain, where it is on permanent exhibition.

In theatre, Dalí is remembered for constructing the scenery for García Lorca's 1927 romantic play Mariana Pineda.<ref>Federico García Lorca. Pegásos. Retrieved on August 8, 2006.</ref> For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto.<ref name=designws>Dalí Rotterdam Museum Boijmans. Paris Contemporary Designs. Retrieved on August 8, 2006.</ref> Bacchanale was followed by set designs for Labyrinth in 1941 and The Three-Cornered Hat in 1949.<ref>Past Exhibitions. Haggerty Museum of Art. Retrieved August 8, 2006.</ref>

Dalí also delved into the realms of filmmaking, most notably playing a large role in the production of Un Chien Andalou, a 17-minute French art film co-written with Luis Buñuel that is widely remembered for its graphic opening scene simulating the slashing of a human eyeball with a razor. Dalí collaborated again with Luis Buñuel on the 1930 film, L'Âge d'Or, and went on to write a number of filmscripts, very few of which made it past conception. The most well-known of his film projects is probably the dream sequence in Alfred Hitchcock's Spellbound, which heavily delves into themes of psychoanalysis. He also worked on a Disney cartoon production Destino; completed in 2003 by Baker Bloodworth and Roy Disney, it contains dream-like images of strange figures flying and walking about. Dalí completed only one other film in his lifetime: Impressions of Upper Mongolia (1975), in which he narrated a story about an expedition in search of giant hallucinogenic mushrooms. The imagery was based on microscopic uric acid stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.<ref>Elliott H. King, Dalí, Surrealism and Cinema, Kamera Books 2007, p. 169.</ref>

Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with the Italian fashion designer Elsa Schiaparelli is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. With Christian Dior in 1950, Dalí created a special "costume for the year 2045."<ref name=designws /> Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman.

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A photograph from the Dalí Atomica series (1948) by Philippe Halsman

With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including with Halsman the Dalí Atomica series (1948)—inspired by his painting Leda Atomica—which in one photograph depicts "a painter’s easel, three cats, a bucket of water and Dalí himself floating in the air."<ref name=designws />

References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of quantum mechanics in the twentieth century. Inspired by Werner Heisenberg's Uncertainty principle, in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist period I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today the exterior world and that of physics, has transcended the one of psychology. My father today is Dr. Heisenberg."<ref name=triangle>Dalí: Explorations into the domain of science. The Triangle Online. Retrieved August 8, 2006.</ref>

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The Disintegration of the Persistence of Memory (1954) was Dalí's way of ushering in the new science of physics above psychology

In this respect, The Disintegration of the Persistence of Memory, which appeared in 1954, in hearkening back to The Persistence of Memory and portraying that painting in fragmentation and disintegration, summarizes Dalí's acknowledgment of the new science.<ref name=triangle />

Architectural achievements include his Port Lligat house near Cadaqués as well as the Dream of Venus surrealist pavilion at the 1939 World's Fair which contained within it a number of unusual sculptures and statues. His literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1952–1963), and Oui: The Paranoid-Critical Revolution (1927–1933). The artist worked extensively in the graphic arts producing many etchings and lithographs. While his early work in printmaking is equal in quality to his important paintings as he grew older, he would sell the rights to images but not be involved in the print-production itself. In addition, a large number of unauthorized fakes were produced in the eighties and nineties thus further confusing the Dalí print market.

One of Dalí's most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965 Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo.<ref name=Prose>Prose, Francine. (2000) The Lives of the Muses: Nine Women and the Arists they Inspired. Harper Perennial. ISBN 0060555254.</ref> Lear became his protegé and muse,<ref name=Prose>Prose, The Lives of the Muses.</ref> writing about their affair in the authorized biography My Life With Dalí (1986).<ref name=Lear>Lear, Amanda. (1986) My Life with Dalí. Beaufort Books. ISBN 0825303737.</ref> Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the disco-art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop,<ref name=Prose>Prose, The Lives of the Muses.</ref> and it has been speculated that Dalí financed Lear's sex reassignment surgery. Referred to as Dalí's "Frankenstein,"<ref name=Lozano>Lozano, Carlos. (2000) Sex, Surrealism, Dalí, and Me. Razor Books Ltd. ISBN 0953820505.</ref> some believe Lear's name is a pun on the French "L'Amant Dalí," or Lover of Dalí. Lear took the place of an earlier muse, Ultra Violet (Isabelle Collin Dufresne), who had left Dalí's side to join the Factory of Andy Warhol.<ref name=Etherington-Smith>Etherington-Smith, Meredith. (1995) The Persistence of Memory: A Biography of Dali. Da Capo Press. ISBN 0306806622.</ref>

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Politics and personality

Image:Salvador Dali NYWTS.jpg

Making antics in the 1960s

Salvador Dalí's politics played a significant role in his emergence as an artist. He has sometimes been portrayed as a supporter of the authoritarian Franco.<ref name=navarro /><ref>Modèle:Cite journal</ref> André Breton, leader of the surrealist movement, made a strong effort to dissociate his name from surrealists proper. The reality is probably somewhat more complex; in any event, he was not an antisemite, as he was a friendly acquaintance of famed architect and designer Paul László, who was Jewish. He also professed great admiration for Freud (whom he met), and Einstein, both Jewish, as can be verified throughout his writings. In his critical review of Dalí's autobiography Secret Life, George 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."<ref name="Orwell Review">Modèle:Cite journal</ref> The misunderstanding probably arises from Dalí's deliberately provocative scorn for the communist leanings of his peers, and the fact that he painted Hitler on more than one occasion.^{[citation needed]} However, as he correctly pointed out to his critics at the time, it was impossible for him to have been a supporter of Hitler, who would have "done away with hysterics" such as Dalí.

In his youth, Dalí embraced for a time both anarchism and communism. His writings account various anecdotes of making radical political statements more to shock listeners than from any deep conviction, which 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 Andre Breton who is said to have called Dalí in for questioning on his politics. In his 1970 book Dali by Dali, Dalí was declaring himself an anarchist and monarchist giving rise to speculations of Anarcho-Monarchism.

While in New York City in 1942, he denounced his colleague, surrealist filmmaker Luis Buñuel, as an atheist, causing Buñuel to be fired from his position at the Museum of Modern Art and subsequently blacklisted from the American film industry.<ref>"In his book The Secret Life of Salvador Dalí, I was described as an atheist, an accusation that at the time was worse than being called a Communist. Ironically, at the same moment that Dalí's book appeared, a man named Prendergast who was part of the Catholic lobby in Washington began using his influence with government officials to get me fired. [At Buñuel's job at the Museum of Modern Art he was tasked with selecting and distributing anti-Nazi propaganda films to North and South America, and he was also supposed work on producing such films.] I knew nothing at all about it, but one day when I arrived at my office, I found my two secretaries in tears. They showed me an article in a movie magazine called Motion Picture Herald about a certain peculiar character named Luis Buñuel, author of the scandalous L'Âge d'Or and now an editor at the Museum of Modern Art. Slander wasn't exactly new to me, so I shrugged it off, but my secretaries insisted that this was really very serious. When I went into the projection room, the projectionist, who'd also read the piece, greeted me by wagging his finger in my face and smirking, "Bad Boy!"
Finally, I too became concerned and went to see Iris, who was also in tears. I felt as if I'd suddenly been sentenced to the electric chair. She told me that the year before, when Dalí's book had appeared, Pendergast had lodged several protests with the State Department, which in turn began to pressure the museum to fire me. They'd managed to keep things quiet for a year; but now, with this article, the scandal had gone public, on the same day that American troops disembarked in Africa.
Although the director of the museum, Alfred Barr, advised me not to give in, I decided to resign, and found myself once again out on the street, forty-three and jobless." Modèle:Cite book</ref>

Image:SalvadorDali-SoftConstructionWithBeans.jpg

Soft Construction with Boiled Beans (Premonition of Civil War) (1936)

With the outbreak of the Spanish Civil War, Dalí fled from fighting and refused to align himself with any group. Likewise, after World War II, George Orwell criticized Dalí for "scuttl[ing] off like rat as soon as France is in danger" after Dalí prospered there for 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."<ref name="Orwell Review"/> After his return to Catalonia after World War II, Dalí became closer to the Franco regime. Some of Dalí's statements supported the Franco regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces". Dalí, being a Catholic, was almost certainly referring to the communists and anarchists who had killed almost 7,000 priests and nuns during the Spanish Civil War. Dalí sent telegrams to Franco, "praising him for signing death warrants for political prisoners."<ref name=navarro /> Dalí even met Franco personally<ref>Salvador Dalí pictured with Francisco Franco</ref> and painted a portrait of Franco's granddaughter. It is impossible to determine whether his tributes to Franco were sincere or whimsical; 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.<ref name=coversations />

Dalí was a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí."<ref name=smithsonian>The Surreal World of Salvador Dalí. Smithsonian Magazine. 2005. Retrieved August 31, 2006</ref> 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. When signing autographs for fans, Dalí would always keep their pens. When interviewed by Mike Wallace on his 60 Minutes television show, Dalí kept referring to himself in the third person, and told the startled Mr. Wallace matter-of factly that "Dalí is immortal and will not die". During another television appearance, on the Tonight Show, Dalí carried with him a leather rhinoceros and refused to sit upon anything else.

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Listing of selected works

Image:Dali on the Rocky Steps.jpg

The Philadelphia Museum of Art used a surreal entrance display including its steps, for the 2005 Salvador Dalí exhibition

Dalí produced over 1,500 paintings in his career,<ref> The Salvador Dalí Online Exhibit

. MicroVision

. Retrieved on 2006-06-13. </ref> in addition to producing illustrations for books, lithographs, designs for theater sets and costumes, a great number of drawings, dozens of sculptures, and various other projects, including an animated cartoon for Disney. Below is a chronological sample of important and representative work, as well as some notes on what Dalí did in particular years:<ref name=Dali />

In Carlos Lozano's biography, Sex, Surrealism, Dalí, and Me, produced by the collaboration of Clifford Thurlow, Lozano makes it clear that Dalí never stopped being a surrealist. As Dalí said of himself: "the only difference between me and the surrealists is that I am a surrealist."<ref name=artcyclopedia />

1910 Landscape Near Figueras
1913 Vilabertin
1916 Fiesta in Figueras (begun 1914)
1917 View of Cadaqués with Shadow of Mount Pani
1918 Crepuscular Old Man (begun 1917)
1919 Port of Cadaqués (Night) (begun 1918) and Self-portrait in the Studio
1920 The Artist’s Father at Llane Beach and View of Portdogué (Port Aluger)
1921 The Garden of Llaner (Cadaqués) (begun 1920) and Self-portrait
1922 Cabaret Scene and Night Walking Dreams
1923 Self Portrait with L'Humanite and Cubist Self Portrait with La Publicitat
1924 Still Life (Syphon and Bottle of Rum) (for García Lorca) and Portrait of Luis Buñuel
1925 Large Harlequin and Small Bottle of Rum, and a series of fine portraits of his sister Anna Maria, most notably Figure At A Window
1926 Basket of Bread and Girl from Figueres
1927 Composition With Three Figures (Neo-Cubist Academy) and Honey is Sweeter Than Blood (his first important surrealist work)
1929 Un chien andalou (An Andalusian Dog) film in collaboration with Luis Buñuel, The Lugubrious Game, The Great Masturbator, The First Days of Spring, and The Profanation of the Host
1930 L'Âge d'Or (The Golden Age) film in collaboration with Luis Buñuel
1931 The Persistence of Memory (his most famous work, featuring the "melting clocks"), The Old Age of William Tell, and William Tell and Gradiva
1932 The Spectre of Sex Appeal, The Birth of Liquid Desires, Anthropomorphic Bread, and Fried Eggs on the Plate without the Plate. The Invisible Man (begun 1929) completed (although not to Dalí's own satisfaction).
1933 Retrospective Bust of a Woman (mixed media sculpture collage) and Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder, Gala in the window
1934 The Ghost of Vermeer of Delft Which Can Be Used As a Table and A Sense of Speed
1935 Archaeological Reminiscence of Millet’s Angelus and The Face of Mae West
1936 Autumn Cannibalism, Lobster Telephone, Soft Construction with Boiled Beans (Premonition of Civil War) and two works titled Morphological Echo (the first of which began in 1934).
1937 Metamorphosis of Narcissus, Swans Reflecting Elephants, The Burning Giraffe, Sleep, The Enigma of Hitler, Mae West Lips Sofa and Cannibalism in Autumn
1938 The Sublime Moment and Apparition of a Face and Fruit Dish on the Beach
1939 Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time
1940 The Slave Market with Disappearing Bust of Voltaire, The Face of War
1941 Honey is Sweeter than Blood
1943 The Poetry of America and Geopoliticus Child Watching the Birth of the New Man
1944 Galarina and Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening
1944–1948 Hidden Faces, a novel
1945, Basket of Bread—Rather Death Than Shame and Fountain of Milk Flowing Uselessly on Three Shoes; This year Dalí collaborated with Alfred Hitchcock on a dream sequence to the film Spellbound, to mutual dissatisfaction.
1946 The Temptation of St. Anthony
1948 Les Elephants
1949 Leda Atomica and The Madonna of Port Lligat. Dalí returned to Catalonia this year.
1951 Christ of St. John of the Cross and Exploding Raphaelesque Head.
1952 Galatea of the Spheres
1954 The Disintegration of the Persistence of Memory (begun in 1952), Crucifixion (Corpus Hypercubus) and Young Virgin Auto-Sodomized by the Horns of Her Own Chastity.
1955 The Sacrament of the Last Supper, Lonesome Echo, record album cover for Jackie Gleason
1956 Still Life Moving Fast, Rinoceronte vestido con puntillas
1957 Santiago el Grande oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton,NB Canada
1958 The Rose
1959 The Discovery of America by Christopher Columbus.
1960 Dalí began work on the Teatro-Museo Gala Salvador Dalí and Portrait of Juan de Pareja, the Assistant to Velázquez.
1965 Dalí donates a gouache, ink and pencil drawing of the Crucifixion to the Rikers Island jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981.<ref name="jail">"

   Dalí picture sprung from jail 
     
 " , BBC
  , March 2, 2003
 
 . </ref>

1967 Tuna Fishing
1969 Chupa Chups logo
1970 The Hallucinogenic Toreador, acquired in 1969 by A. Reynolds Morse & Eleanor R. Morse before it was completed
1972 La Toile Daligram
1976 Gala Contemplating the Mediterranean Sea
1977 Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun (stereoscopical pair of paintings)
1983 Dalí completed his final painting, The Swallow's Tail.
2003 Destino, an animated cartoon which was originally a collaboration between Dalí and Walt Disney, is released. Production on Destino began in 1945.

The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida which contains the collection of A. Reynolds Morse & Eleanor R. Morse. It holds over 1,500 works from Dalí. Other particularly significant collections include the Reina Sofia Museum in Madrid, and the Salvador Dalí Gallery in Pacific Palisades, California. Espace Dalí in Montmartre, Paris, France, as well as the Dalí Universe in London, England, contain a large collection of his drawings and sculptures.

The unlikeliest venue for Dalí's work was the Rikers Island jail in New York City; a sketch of the Crucifixion he donated to the jail hung in the inmate dining room for 16 years before it was moved to the prison lobby for safekeeping. The drawing was stolen in March 2003 and has not been recovered.<ref name="jail" />

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References

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External links

Modèle:Wikiquote

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Wikimedia Commons propose des documents multimédia libres sur Salvador Dalí.

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Biographies and news

www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//www.rotten.com/library/bio/artists/salvador-dali/ Biography and works of Salvador Dalí]—From the Rotten Library www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//www.smh.com.au/articles/2003/07/04/1057179156682.html Dalí's surreal wind-powered organ lacks only a rhinoceros] www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//uk.portalmundos.com/mundoarte/biography/salvadordali.htm MundoArte: Biography of Salvador Dalí] www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=260 Salvador Dalí: a Genius?]—Article from Bohème Magazine www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//www.ubu.com/sound/dali.html UbuWeb: Salvador Dalí]—Interview and bank advertisement. www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//tierra.free-people.net/artes/paintings-salvador-dali.php Biography and paintings of Salvador Dalí] www.suginternational.org/mynewsite/Lire%20Dali.htmLire Dalí], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,//www.ina.fr/archivespourtous/index.php?full=Salvador+Dal%ED&action=ft Salvador Dalí in the INA Archives] — A collection of interviews and footage of Dalí in the French television

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Exhibitions

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Salvador Dalí

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Biography

Early life

Madrid and Paris

1929 through World War II

Later years in Catalonia

Symbolism

Endeavors outside painting

Politics and personality

Listing of selected works

References

External links

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-'''Salvador Domingo Felipe Jacinto Dalí Domènech''', connu sous le nom de '''Salvador Dalí''', ([[11 mai]] [[1904]] - {{Date|23|janvier|1989}}) était un peintre [[surréaliste]] [[Espagne|espagnol]]. Il est né et mort à [[Figueres]] en [[Catalogne]] ([[Espagne]]) où il créa d'ailleurs son propre [[musée]] en [[1974]], le [[Teatre-Museu Gala Salvador Dalí]].
+{{Infobox Artist
+| name          = Salvador Dalí, Marquis de Púbol
+| image         = Salvador Dalí 1939.jpg
+| imagesize     = 180px
+| birthname     = Salvador Domingo Felipe Jacinto Dalí i Domènech
+| birthdate     = {{birth date|1904|5|11|mf=y}}
+| location      = [[Figueres]], [[Catalonia]], [[Spain]]
+| deathdate     = {{death date and age|1989|01|23|1904|05|11}}
+| deathplace    = [[Figueres]], [[Catalonia]], [[Spain]]
+| nationality = [[Spain|Spanish]]
+| field         = [[Painting]], [[Drawing]], [[Photography]], [[Sculpture]], [[Writing]]
+| training      = San Fernando School of Fine Arts, [[Madrid]]
+| movement      = [[Cubism]], [[Dada]], [[Surrealism]]
+| famous works  = ''[[The Persistence of Memory]]'' (1931)<br/>''Face of Mae West Which May Be Used as an Apartment'', (1935)<br/>''[[Soft Construction with Boiled Beans (Premonition of Civil War)]]'' (1936)<br/>''[[Swans Reflecting Elephants]]'' (1937)<br/>''Ballerina in a Death's Head'' (1939)<br/>''The Temptation of St. Anthony'' (1946)<br/>''Galatea of the Spheres'' (1952)<br/>''[[Young Virgin Auto-Sodomized by the Horns of Her Own Chastity]]'' (1954)
+| patrons       =
+| awards        =
+}}
-[[Image:Salvador Dali NYWTS.jpg|thumb|300px|right|Salvador Dalí]]
+'''Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st [[Marquis]] of Púbol'''  ([[May 11]] [[1904]] – [[January 23]] [[1989]]), was a [[Spain|Spanish]] [[surrealist]] painter born in [[Figueres]], [[Catalonia]].
-== Biographie ==
-La région de son enfance, la [[Catalogne]], aura toujours une place privilégiée dans son œuvre comme dans sa vie. Dali est né le 2 mai 1904. Son père Don Salvador Dali y Cusi<ref>{{guillemets|Salvador, Felipe, Jacinto, fils légitime de Don Salvador Dali y Cusi, natif de Cadaquès, province de Gérone, agé de 41 ans et de Dona Felipa Domenech, native de Barcelone...}} extrait de l'acte de naissance de Salvador Dali cité par Robert Descharnes et Gilles Néret dans ''Dali, l'œuvre peint'', éditions Taschen, Cologne, 2001, p.14.</ref>{{,}}<ref>[http://www.20minutos.es/museo-virtual/foto/1174/donante/1092/ Photo]</ref> était un homme autoritaire et aurait été responsable de la mort du frère ainé de Dalí{{référence nécessaire}} appelé Salvador, né le 11 mai 1901 et décédé deux années plus tard.
-À sept ans, il peint son premier tableau et veut être [[Napoléon Bonaparte|Napoléon]]. En [[1922]], après un bac obtenu facilement, Dalí entre à l'École des Beaux-Arts de San Fernando, à [[Madrid]].
+Dalí was a skilled [[Technical drawing|draftsman]], best known for the striking and bizarre images in his [[surrealism|surrealist]] work. His [[painterly]] skills are often attributed to the influence of [[Renaissance]] masters.<ref name=Dali>Dalí, Salvador. (2000) ''Dalí: 16 Art Stickers'', Courier Dover Publications. ISBN 0-486-41074-9.</ref> His best known work, ''[[The Persistence of Memory]]'', was completed in 1931.
-Il se lie d'amitié avec [[Federico García Lorca]] et [[Luis Buñuel]] mais l'enseignement le déçoit et il se fait expulser pour avoir incité les étudiants à manifester contre l'incompétence d'un nouveau professeur {{référence nécessaire}}.
-[[Image:Man Ray Salvador Dali.jpg|thumb|left|400px|Salvador Dalí et [[Man Ray]] à [[Paris]] en [[1934]], photo par [[Carl Van Vechten]], [[photographe]] [[États-Unis|américain]]]]
-En [[1926]], il fait un premier voyage à [[Paris]] et y rencontre [[Pablo Picasso]].
-Trois ans plus tard, il retourne dans la capitale française, en compagnie de Buñuel, pour le tournage d'''[[Un chien andalou]]''. C'est la rencontre décisive avec les [[Surréalisme|surréalistes]] : [[Tristan Tzara]], [[Louis Aragon]], [[André Breton]], [[Paul Éluard]]... et sa femme, [[Gala Dalí|Gala]]. L'apparition de celle-ci est une révélation : il l'a rêvée et peinte avant de la connaître ; ils ne se quitteront plus.
-En [[1932]], Dalí participe à la première exposition surréaliste aux [[États-Unis]] et obtient un succès triomphal. Il accumule les idées et Gala essaie de vendre ses inventions souvent jugées trop folles. C'est le début de la ''méthode paranoïaque-critique'' qui veut crétiniser le monde, comme [[Alfred Jarry]] voulait le décerveler. Aux récits de rêves et à l'écriture automatique des surréalistes, Dalí ajoute l'objet irrationnel à fonctionnement symbolique. Cependant, à l'issue d'une réunion mémorable, il se fait exclure du mouvement par [[André Breton]] qui lui reproche ses ''actes contre-révolutionnaires''( manifestation pro-fasciste et admiration pour [[Hitler]]). De [[1939]] à [[1948]], il s'exile à [[New York]] et ses toiles témoignent de ses découvertes du nouveau continent (''Poésie d'Amérique'', par exemple).
+Salvador Dalí's artistic repertoire also included film, sculpture, and photography. He collaborated with [[Walt Disney]] on the [[Academy Awards|Academy Award]]-nominated short cartoon {{lang|es|''[[Destino]]''}}, which was released posthumously in 2003. He also collaborated with [[Alfred Hitchcock]] on Hitchcock's film ''[[Spellbound (1945 film)|Spellbound]]''.
-: ''« Pour pénétrer dans la réalité, j'ai l'intuition géniale que je dispose d'une arme extraordinaire : le mysticisme, c'est-à-dire l'intuition profonde de ce qui est, la communication immédiate avec le tout, la vision absolue par la grâce de la vérité, par la grâce divine. »''
-Cette profession de [[mysticisme]], Dalí va l'appliquer jusqu’à la fin de sa vie aux œuvres qu'il lui reste à créer. Le gigantisme atteint ses dernières toiles, grouillantes de personnages [[Dionysos|dionysiaques]], où il réunit toutes les tendances en ''-isme'' : [[pointillisme]], [[surréalisme]], [[tachisme]]...
+Dalí insisted on his "Arab lineage", claiming that his ancestors were descended from the [[Moors]] who occupied Southern Spain for nearly 800 years (711-1492), and attributed to these origins, "my love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes."<ref>{{ cite book | author=Ian Gibson | title=The Shameful Life of Salvador Dali | year=1997 | publisher=W. W. Norton & Company | url=http://www.nytimes.com/books/first/g/gibson-dali.html }} Gibson found out that "Dalí" (and its many variants) is an extremely common surname in Arab countries like [[Morocco]], [[Tunisia]], [[Algeria]] or [[Egypt]]. On the other hand, also according to Gibson, Dalí's mother family, the Domènech of Barcelona, had Jewish roots.</ref>
-Dalí s'intéressa aussi à bien d'autres arts, et fut en particulier fasciné par le cinéma, la photographie, la mode ou la publicité.
+Widely considered to be greatly imaginative, Dalí had an affinity for doing unusual things to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his [[eccentricity (behaviour)|eccentric]] manner sometimes drew more public attention than his artwork.<ref>Saladyga, Stephen Francis. [http://purple.niagara.edu/jlittle/lamplighter/saladyga.htm "The Mindset of Salvador Dalí"]. ''lamplighter (Niagara University)''. Vol. 1 No. 3, Summer 2006. Retrieved [[July 22]] [[2006]].</ref> The purposefully-sought notoriety led to broad public recognition and many purchases of his works by people from all walks of life.
-En outre, il était passionné par les sciences, notamment par la [[théorie de la relativité]] d'[[Albert Einstein]] qu'il a représentée à sa façon dans les célèbres « montres molles » de son tableau ''Persistance de la mémoire''.
-Selon le couple Lacroix, en 1980, Salvador Dalí aurait semble-t-il été victime d'une dépression nerveuse et ses proches vont commencer à régenter les visites que le maître reçoit.
+==Biography==
+===Early life===
-Gala meurt en [[1982]]&nbsp;; la même année, Dalí est fait [[marquis]] de Pubol où il vit dans le château qu'il a offert à sa femme. En mai [[1983]], il peint son dernier tableau, ''La queue d'aronde''. En [[1984]], il est très gravement brûlé lors de l'incendie de sa chambre, au château de Pubol. Il meurt le {{Date|23|janvier|1989}} d'une défaillance cardiaque. Conformément à sa volonté, il se fera embaumer puis exposer dans son "Teatre-Museu", où il repose désormais. Une simple pierre indique le lieu de sa sépulture. Par testament, il lègue l'ensemble de ses biens et de son œuvre à l'État espagnol.
+[[Image:Dali Self-portrait.jpg|left|thumb| ''Self-portrait'' — by  teenage Dalí in 1921]]
-== Son œuvre ==
+Dalí was born on [[May 11]], [[1904]], at 8:47 am GMT<ref> According to his birth certificate. [http://www.astrotheme.fr/en/portrait.php?info=1&clef=V5w9Rfu55p7k Salvador Dalí astrological chart] on astrotheme.fr. Accessed 30 September 2006.</ref> in the town of [[Figueres]], in the [[Empordà]] [[Comarques of Catalonia|region]] close to the [[France|French]] border in [[Catalonia]], [[Spain]].<ref>Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33</ref> Dalí's older brother, also named Salvador (b. October 12, 1901), had died of gastroenteritis, nine months earlier, on August 1, 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary<ref  name=Llongueras>Llongueras, Lluís. (2004) ''Dalí'', Ediciones B — Mexico. ISBN 84-666-1343-9.</ref> whose strict disciplinarian approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.<ref name=Rojas>Rojas, Carlos. ''Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait'', Penn State Press (1993). ISBN 0-271-00842-3.</ref> When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,<ref name=sina>[http://edu.sina.com.cn/en/2004-06-17/22707.html Salvador Dalí]. ''[[SINA.com]]''. Retrieved on July 31 2006.</ref> which he came to believe.<ref>[http://www.astrodatabank.com/NM/DaliSalvador.htm Salvador Dalí biography] on astrodatabank.com. Accessed 30 September 2006.</ref> Of his brother, Dalí said: ''"… [we] resembled each other like two drops of water, but we had different reflections."''<ref>Dalí, Secret Life, p.2</ref> He ''"was probably a first version of myself but conceived too much in the absolute."''<ref>Dalí, Secret Life, p.2</ref>
-=== Dalí et le monde de la publicité ===
-Dalí n'a pas hésité à s'immerger dans la culture populaire à travers la publicité, pour laquelle il a créé des couvertures de magazines américains comme ''The American Weekly'', ''Vogue'', ''Town & Country'', des pochettes de disques, et a travaillé pour les collants ''Bryans Hosiery'', la bouteille ''Perrier'', pour ''Alka Seltzer'', pour ''Datsun'', et surtout il a joué dans l'inoubliable spot à l'humour décalé «'' Je suis fou ! du chocolat Lanvin''».
+Dalí also had a sister, Ana María, who was three years younger.<ref name=Llongueras /> In 1949 she published a book about her brother, ''Dalí As Seen By His Sister''.<ref>{{cite web|url=http://www.artelino.com/articles/dali.asp|title=Dalí Biography 1904–1989 — Part Two|publisher:artelino.com|accessdate=2006-09-30}}</ref> His childhood friends included future [[FC Barcelona]] footballers, [[Emilio Sagi Liñan|Sagibarbá]] and [[Josep Samitier]]. During holidays at the Catalan resort of [[Cadaqués]], the trio played football together.
-Dans l'autre sens, il a utilisé la publicité dans ses œuvres, tout en y intégrant des clins d'œil à la psychanalyse, ou aux travaux sur la relativité, par exemple : ''Projet interprétatif pour un bureau étable'', bébé ''Pervers polymorphe de Freud'', ''Appareil et la main'', ''La Madone de Raphaël à la vitesse maximum''. Il a aussi utilisé et détourné les techniques manipulatoires de la publicité pour réaliser son autopromotion dans le journal satirique ''Dalí News''.
+Dalí attended [[art school|drawing school]]. In 1916 Dalí also discovered modern painting on a summer vacation to [[Cadaqués]] with the family of [[Ramon Pichot]], a local artist who made regular trips to [[Paris]].<ref name=Llongueras /> 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 Theater in Figueres in 1919.
-=== Dalí et le monde du cinéma ===
+In February 1921, Dalí’s mother died of breast cancer. Dalí was sixteen 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."''<ref>Dalí, Secret Life, pp.152–153</ref> After her death, Dalí’s father married his deceased wife’s sister. Dalí did not resent this marriage as some do think, because he had a great love and respect toward his aunt.<ref name=Llongueras />
-[[Image:Dalí. Gala.JPG|220px|right|thumb|''Gala à la fenêtre'', sculpture à [[Marbella]]]]
+===Madrid and Paris===
-L'enfance de Dalí s'est déroulée lors de l'âge d'or du cinéma muet. Il rencontre [[Luis Buñuel]] à la résidence des étudiants à [[Madrid]] — il en fait le sujet d'un de ses premiers tableaux. Cette amitié débouche sur une collaboration qui ouvre la voie au [[surréalisme]]. En complicité avec lui, il participe à l'écriture de deux films emblématiques du cinéma surréaliste : ''[[Un chien andalou]]'' en [[1929]], un court-métrage de seize minutes dans lequel se succèdent, après une brutale image d'introduction (destinée sans doute à mieux marquer la scission entre monde réel et monde surréaliste), diverses scènes oniriques dotées seulement de la logique du rêve, et ''[[L'Âge d'or]]'' en [[1930]], un film d'une heure, jugé à l'époque insolent, le film fut interdit jusqu'en [[1981]].
-Le [[Septième Art]] et [[Hollywood]] l'ont aussi inspiré :
+[[Image:Man Ray Salvador Dali.jpg|thumb|right|Wild-eyed antics of Dalí (left) and fellow [[surrealism|surrealist]] artist [[Man Ray]] in [[Paris]] on [[June 16]], [[1934]], photographed by [[Carl Van Vechten]]]]
-* Dans le tableau ''Shirley Temple, le monstre le plus jeune, le plus sacré du cinéma de son temps'' (1939), en [[Sirène (héraldique)|sirène]] dévorant ses victimes.
-* Les éléments du visage de [[Mae West]], utilisés pour la décoration d'un appartement cosy où l'on remarque le ''Mae West Lips Sofa'', sofa rouge inspiré des lèvres de l'artiste.
-* Il peint aussi [[Jack Warner]].
-Dalí a ainsi participé à la réalisation de plusieurs films :
+In 1922, Dalí moved into the [[Residencia de Estudiantes]] (Students' Residence) in [[Madrid]]<ref name=Llongueras /> and there studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m <ref>As listed in [http://www.gaudiclub.com/esp/e_links/dali/2004mar18_1.asp his prison record of 1924], aged 20. However, his hairdresser and biographer, Luis Llongueras, states Dalí was 1.74 m tall.</ref> tall dandy, Dalí already drew attention as an eccentric, wearing long hair and sideburns, coat, stockings and knee breeches in the fashion style of the English [[artistic dress movement|aesthetes]] of the late 19th century. But his paintings, where he experimented with [[Cubism]], earned him the most attention from his fellow students. In these earliest Cubist works, he probably did not completely understand the movement, since his only information on Cubist art came from a few magazine articles and a catalogue given to him by Pichot, and there were no Cubist artists in Madrid at the time.
-* En [[1941]], il écrit une première scène de rêve pour le film "''Moontide''" de [[Fritz Lang]]. La scène ne sera pas tournée à cause des évènements suite à l'attaque japonaise contre [[Pearl Harbor]], [[Archie Mayo]] réalisa le film mais sans la scène imaginée par Dalí.
-* En [[1941]] encore, il commença à réaliser pour [[Walt Disney]], en collaboration avec [[John Hench]], un dessin animé de six minutes, appelé ''Destino''. Cinq ans après, 15 secondes seulement avaient été réalisées. En fait, le travail fut à l'époque arrêté au bout de quelques mois par les studios sous prétexte que l'imagination de Dalí était trop audacieuse. Cependant Dalí et Disney s'appréciaient beaucoup et Dalí avait surnommé Disney, le « grand Américain surréaliste ». Le projet fut finalement repris et terminé qu'en [[2002]] et ce dessin animé de sept minutes est un monument de pure fantaisie. En fait tous les ingrédients de ce film sont présents dans son tableau ''[[Melancholy, Atomic Uranic Idyll]]'' daté de [[1945]].
-* Il a aussi écrit un scénario pour les [[Marx Brothers]], intitulé « ''Giraffes on Horseback Salad'' ». Le film ne sera jamais réalisé, mais il en reste les esquisses.
-* en [[1945]], pour le film d'[[Alfred Hitchcock]], ''[[La Maison du docteur Edwardes]]'', il réalisa le décor de la scène du rêve (spellbound). Dans cette scène, [[Gregory Peck]], psychanalisé par [[Ingrid Bergman]] voit un rideau d'yeux grands ouverts — idée reprise du film ''Un chien andalou'' — et des ciseaux énormes qui découpent paupière et rétine. On y voit aussi une cagoule de pénitent, une pente neigeuse, une roue molle, des cartes à jouer blanches et des ailes géantes poursuivants de petits personnages. Deux autres séquences ne furent pas retenues : la première, quinze énormes pianos à queue accrochés au plafond de la salle de bal se balançant au dessus de silhouettes en carton placées en ordre décroissant, la deuxième, l'actrice Ingrid Bergman se transformant en statue. Dalí déclara : {{citation|''Hitchcock est l'un des rares personnages que j'ai rencontrés récemment à posséder un certain mystère.''}}
-Dalí a produit lui-même quelques films :
+Dalí also experimented with [[Dada]], which influenced his work throughout his life. At the Residencia, he became close friends with, among others, [[Pepín Bello]], [[Luis Buñuel]], and the [[poet]] [[Federico García Lorca]]. The friendship with Lorca had a strong element of mutual passion,<ref>For more in-depth information about the Lorca-Dalí connection see ''Lorca-Dalí: el amor que no pudo ser'' and ''The Shameful Life of Salvador Dalí'', both by [[Ian Gibson (author)|Ian Gibson]].</ref> but Dalí fearfully rejected the erotic advances of the poet.<ref name=coversations>Bosquet, Alain, ''[http://www.ubu.com/historical/dali/dali_conversations.pdf Conversations with Dalí]'', 1969. p. 19-20. {{Languageicon|PDF|Portable Document File}} (of Garcia Lorca) 'S.D.:He was homosexual, as everyone knows, and madly in love with me. He tried to screw me twice .... I was extremely annoyed, because I wasn’t homosexual, and I wasn’t interested in giving in. Besides, it hurts. So nothing came of it. But I felt awfully flattered vis-à-vis the prestige. Deep down I felt that he was a great poet and that I owe him a tiny bit of the Divine Dalí's asshole.'</ref>
-* des courts films expérimentaux surréalistes où il se met en scène :
-* au cours des [[années 1950]], réalisé par [[Robert Descharnes]] ''"L'aventure prodigieuse de la dentellière et du rhinocéros"'', association d'images et objets par la courbe logarithmique et le nombre d'or.
-* en [[1979]], réalisé par [[José Montes Baquer]] ''"Voyage en Haute Mongolie"''. Dans ce film, Salvador Dalí raconte l'histoire d'un peuple disparu dont il a retrouvé la trace au cours d'un voyage en Haute-[[Mongolie]]. En fait, l'histoire est complètement inventée. Il a suffit à Dalí de déposer un peu de son urine sur la bague d'un stylo, d'attendre que la corrosion agisse, d'en filmer les effets à distance presque microscopique, le tout agrémenté d'un commentaire d'« historien ».
-Les rapports de Dalí avec le cinéma ont fait l'objet en 2004 d'un film documentaire intitulé ''[http://www.tvfrance-intl.com/tvfi/direct_programme.php?cmd=search&id_prog=30218&langue=Fr&nom=CINEMA%2C+DALI+CIN%C9MA%2C+DALI+CINEMA%2C+DALI Cinéma Dalí]''. Depuis [[juin 2007]] et jusqu'en [[septembre 2007]], la [[Tate Modern]] à Londres propose une rétrospective de son travail en rapport avec le monde du cinéma.
+Dalí was expelled from the Academia in 1926 shortly before his final exams when he stated that no one on the faculty was competent enough to examine him.<ref name=olga>[http://www.abcgallery.com/D/dali/dalibio.html Salvador Dalí: Olga's Gallery]. Retrieved on [[July 22]], [[2006]].</ref> His mastery of painting skills is well documented by that time in his flawlessly realistic ''Basket of Bread'', which was painted in 1926.<ref>http://www.dali-gallery.com/html/galleries/painting05.htm</ref> That same year he made his first visit to Paris where he met with [[Pablo Picasso]], whom young Dalí revered. Picasso had already heard favorable things about Dalí from [[Joan Miró]]. Dalí did a number of works heavily influenced by Picasso and Miró over the next few years as he developed his own style.
-=== Dalí et le monde du théâtre ===
+Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences of all styles of art he could find and then produced works ranging from the most academically classic to the most cutting-edge [[avant-garde]],<ref>Hodge, Nicola, and Libby Anson. ''The A–Z of Art: The World's Greatest and Most Popular Artists and Their Works''. California: Thunder Bay Press, 1996. [https://ucmshare.ucmerced.edu/docushare/dsweb/Get/Document-94961/Dali+Salvador.doc Online citation].</ref> sometimes in separate works and sometimes combined. Exhibitions of his works in [[Barcelona]] attracted much attention and mixtures of praise and puzzled debate from critics.
-Dalí a également participé à plusieurs projets liés au théâtre :
+Dalí grew a flamboyant [[moustache]], which became iconic of him; it was influenced by that of seventeenth century Spanish master painter [[Diego Velázquez]].
-* en [[1927]], il collabore avec [[Federico García Lorca]] pour la pièce ''Marina Pineda'' ;
-* il fut l'auteur du livret de ''Bacchanale'', inspiré du ''Tannhäuser'' de [[Richard Wagner]]
-=== Dalí et le monde de la mode ===
+===1929 through World War II===
-* Dans le cadre de la pièce ''Bacchanale'', il collabora avec [[Coco Chanel]] pour dessiner les costumes et les décors ;
+[[Image:The Persistence of Memory.jpg|thumb|right|''[[The Persistence of Memory]]'' (1931) is one of Dalí's most famous works]]
-* Dans les [[années 1930]], il participa à la création de quelques modèles de chapeau dont un célèbre en forme de chaussure, et avec la couturière [[Elsa Schiaparelli]], il créa la robe « homard » ;
-* en [[1950]], avec [[Christian Dior]], il imagina le fameux ''Costume de l'année 1945'' à tiroirs.
-* En [[1972]], alors qu'[[Elvis Presley]] lui rend visite, Dalí est tellement fasciné par sa chemise "country" à motifs brodés et boutons de nacre que le chanteur la lui offre. Il la porte alors pour peindre "''Dalí avec la chemise d'Elvis''". Le maître racontera au couple Lacroix : «'' Quand Elvis Presley est venu me rencontrer dans mon atelier il a tout de suite remarqué que j'étais fasciné par sa chemise country. Au moment de partir il m'a dit : «Vous aimez ma chemise ?» Oui. Beaucoup. Sans un mot il a défait les boutons et est reparti torse nu. Depuis je ne la quitte jamais pour peindre. ''»
-* '''Dalí & la Mode''' : Depuis fin 2006, l'[[Espace Dalí]] a décidé, pour perpétuer cette relation entre Dalí et le monde de la Mode, de demander aux plus prestigieux noms de la Haute Couture française et internationale d’imaginer une « robe-hommage » au Maître. Le résultat ? Des créations surprenantes, magiques, surréalistes signées Paco Rabanne, Sonia Rykiel, Loris Azzaro, Hanae Mori, Moschino, Paul Smith, Trussardi…
-==== Dalí, le design et la mode ====
+<!-- NB on the Spanish word "memoria": in Spanish, the emphasis is on the O (memORia), not on the I (memorIA) as an English speaker might think.  I write this because someone before had written it as "memoría" which is incorrect. // yes, but anyhow, neither memoria nor persistencia carry accents … // But the work premiered in Paris with the title in French; it has never exhibited in Spain and has always been known with its title in French or English-->
-[[Image:Dalí.Rinoceronte.JPG|350px|thumb|left|Rhinocéros de Dalí à [[Puerto Banús]] (la sculpture pèse 3,6 t)]]
-Dalí, tout au long de sa vie et de son œuvre, a maintenu une longue et intense relation avec le monde polymorphique de la mode. Dans son désir permanent de matérialiser la capacité créative sans limite qui le singularisait, il explora les registres créatifs les plus hétérogènes du secteur de la mode, en laissant dans chacun d’eux sa marque de fabrique particulière.
-Parmi les inventions dalíniennes dans le domaine de ce que nous pourrions appeler « la mode virtuelle » — puisque ses modèles sous forme d’écritures et de dessins, n’ont pas été réalisés — nous pouvons citer&nbsp;:
+In 1929, Dalí collaborated with the surrealistic film director [[Luis Buñuel]] on the short [[film]] {{lang|fr|''[[Un chien andalou]]''}} (''An Andalusian Dog''). He was mainly responsible for helping Buñuel write the script for the film.
-* Les robes, avec de fausses intercalaires et bourrées d’anatomies factices, destinées à exciter l’imagination érotique, comme Dalí lui-même le commentait dans Vogue : « ''Toutes les femmes avec de faux seins dans le dos  — insérés exactement à la place des omoplates — jouiront d’un aspect ailé.'' »
+Dalí later claimed to have been more heavily involved in the filming of the project, but this is not substantiated by contemporary accounts.<ref>Koller, Michael. [http://www.sensesofcinema.com/contents/cteq/01/12/chien.html {{lang|fr|''Un Chien Andalou''}}]. ''senses of cinema'' January 2001. Retrieved on [[July 26]], [[2006]].</ref>
-* Le maquillage au niveau des joues creuses pour éliminer les ombres sous les yeux.
-* Les lunettes kaléidoscopiques particulièrement recommandées en voiture pendant les voyages ennuyeux.
-* Les faux ongles composés de mini miroirs dans lesquels on peut se contempler, spécialement adaptés  pour accompagner les costumes du soir.
-* Les chaussures musicales de printemps pour égayer les promenades.
-Mais Dalí ne se limita pas à imaginer des croquis de mode « virtuels », il collabora aussi à la réalisation de dessins « réels » comme&nbsp;:
+Also that year he met his muse, inspiration, and future wife [[Gala Dalí|Gala]],<ref name=unbound>Shelley, Landry. [http://www.tcnj.edu/~unbound/spring2005/articles/a2 "Dalí Wows Crowd in Philadelphia"]. ''Unbound'' ([[The College of New Jersey]]) Spring 2005. Retrieved on [[July 22]], [[2006]].</ref> born Elena Ivanovna Diakonova, a [[Russia]]n [[immigrant]] eleven years his senior who was then married to the [[Surrealism|surrealist]] poet [[Paul Éluard]].
-* Les robes qu’[[Edward James]] lui demanda de créer pour son amie l’actrice [[Ruth Ford]] et qui furent réalisées par [[Elsa Schiaparelli]], la couturière italienne de Haute Couture installée à Paris, avec qui il collabora tout au long des [[années 1980]] pour les motifs des tissus et pour les dessins de décoration de ses robes et chapeaux, parmi eux, le célèbre « chapeau-chaussure » qui fait déjà partie de l’imaginaire du surréaliste.
-* Les modèles pour les représentations sur scène : de ses premiers croquis avec la réalisation des costumes du modèle Mariana Pineda jusqu’à ses dessins pour de nombreux ballets et œuvres de théâtre, dans lequel participaient parmi les plus connus, les modèles que son amie Coco Chanel avait créés pour « Bacchanale », le premier ballet « paranoïaque-kinétique ».
-* Les maillots de bain féminins qui compriment totalement les seins, pour camoufler le buste et  donner ainsi un aspect angélique.
-* Le smoking aphrodisiaque recouvert de verres de liqueur remplis de peppermint frappé.
-* Les cravates que [[Georges McCurrach]] lui demanda de dessiner avec les motifs iconographiques emblématiques Dalíniens : les lèvres collées à un téléphone-langouste, des fourmis pullulant sur les montres molles…
-* Le design capillaire de ses moustaches-antennes métamorphiques.
-* Les flacons de parfums Dalíniens, de « Rock and Roll » dessinés par Mrs [[Mafalda Davis]] — une « eau de toilette » pour homme qui se vendait plus cher que Dior — jusqu’à son dernier parfum dont le flacon s’inspirait de « L’apparition du visage de l’Aphrodite de Cnide dans un  paysage. », en passant par « Shocking », le parfum rose de Schiaparelli dont il réalisa la publicité.
-Les fantastiques bijoux que Gala, grande admiratrice du bijoutier mythique Fabergé, l’invita à dessiner à  partir de ses propres iconographies.
-* La publicité pour les entreprises de mode américaine--comme la célèbre campagne de publicité pour les bas Bryans que Vogue publia.
-* Les déguisements pour les danses de  carême, en commençant par la polémique sur la tenue de Gala dans  « la danse onirique » réalisée en son honneur par [[Caresse Crosby]] dans le [[Coq Rouge]] de New York, jusqu’aux robes vénitiennes démesurément longues pour le bal du Carnaval au Palazo Beistegui, que [[Christian Dior]] réalisa à partir d’un dessin de Dalí.
-Mais le dandy qu’était Dalí — il réussit à se faire élire Homme le plus élégant en France{{réference nécessaire}} — ne s’est pas limité à concevoir des modèles pour ses femmes aux hanches proéminentes — les femmes coccyx — et imberbes au niveau des aisselles — comme les nordiques du type de [[Greta Garbo]] — au contraire, dans le cadre de son roman "Hidden Faces", il conçut une maison de couture pour les voitures aux lignes aérodynamiques: robes du soir très formelles avec d’énormes cols rabattus, toilettes du soir très élégantes aux décolletés profonds faisant ressortir les radiateurs entre des froufrous d’organdi et de larges bandes de satin pour les soirées de Gala! Hermine pour tapisser les capotes convertibles des décapotables, avec les poignées des portières en peau de phoque et manchon de bison pour couvrir le moteur ! La matérialisation de ce design Dalínien doublait automatiquement les podiums de mode et le passage des automobiles accessoirisées augmentait la part du fantastique…
+In the same year, Dalí had important professional exhibitions and officially joined the surrealist group in the [[Montparnasse]] quarter of [[Paris]] (although his work had already been heavily influenced by surrealism for two years). The surrealists hailed what Dalí called the [[Paranoiac-critical method]] of accessing the [[subconscious]] for greater artistic [[creativity]].<ref name=Llongueras /><ref name=Rojas />
-==== [[La Toile Daligram]]  ====
+In 1931, Dalí painted one of his most famous works, ''[[The Persistence of Memory]]''.<ref>[http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf Clocking in with Salvador Dalí: Salvador Dalí’s Melting Watches] (PDF) from the Salvador Dalí Museum. Retrieved on [[August 19]] [[2006]].</ref> Sometimes called ''Soft Watches'' or ''Melting Clocks'', the work introduced the surrealistic image of the soft, melting [[pocket watch]].
-Salvador Dalí crée La Toile Daligram à la fin des [[années 1960]], à partir d'un étui de [[Louis Vuitton]]. Il réinterprète les monogrammes de La Maison Vuitton et décline sa propre ligne d'objets monogrammés, les "Daligrammes", pour lui et Gala, mais aussi pour les offrir à ses amis et aux collectionneurs de ses œuvres.
+The general interpretation of the work is that the soft watches debunk the assumption that time is rigid or deterministic, and this sense is supported by other images in the work, such as the wide expanding landscape and the ants and fly devouring the other watches.<ref name=Conquete>Salvador Dalí, {{lang|fr|''La Conquête de l’irrationnel''}} (Paris: Éditions surréalistes, 1935), p. 25.</ref>
-Dalí, tout au long de son existence, a ressenti une passion intarissable pour le graphisme. On retrouve une profusion délirante de ses dessins graphiques dès ses premières esquisses, dans ses cahiers et manuels scolaires, jusqu’au Traité d’Ecriture Catastrophéiforme, un manuscrit de vingt-neuf pages calligraphiées, qu’il écrivit de manière impulsive après la mort de Gala. Déjà cloîtré dans son Château de Púbol, il passa par les lettres qu’il inventa pour créer un alphabet Dalínien alors qu’ il se trouvait plongé au milieu du chemin de sa dantesque vie. La trame de ces tracées discontinus est le résultat d’une écriture énigmatique et idéographique, configurée par d’étonnantes stèles de sa propre personne, des anagrammes du corps érogène, des marques sismographiques d’une vie secrète, qui nous introduisent dans un monde d’une somptueuse cosmographie où les lignes de peinture, de dessin et d’écriture sont mutuellement attirées et s’entrelacent en un point invisible, dont de la noirceur de l’encre de chine jaillit une constellation extraordinaire de lettres qui volent à travers l’espace des pages blanches, hors de toute espérance. Dès le premier regard, la sensuelle volupté des lettre, leur délicate violence, nous attire et nous invite à jouir, les yeux fermés, des formes euphorisantes et lubrifiées par la main virtuelle qui se glisse fébrilement comme machinalement poussé par d’évanescentes et fugaces pulsions et qui esquive furtivement la triviale répétition du stéréotype alphabétique. Ces Daligrammes orthographiques de Artsmode Network S.A, dessinés spécifiquement par Dalí pour les article de maroquinerie, établissent un lien frappant avec les monogrammes et les calligraphies du légendaire malletier Louis Vuitton, dont le design des valises, des secrétaire, des sacs de voyage et de tous types d’accessoires conjuguent l’art du voyage avec l’art de vivre, des arts qui au sein de l’esthétique Dalínienne se transforment en une machine de guerre au service du désir, dans sa lutte contre la suprématie du Principe de Réalité.
+Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony (They remarried in a [[Catholic]] ceremony in 1958).
-=== Dalí et la science ===
+[[Image:Dream Caused by the Flight of a Bumblebee around a Pomegranate a Second Before Awakening.jpg|thumb|right|On ''[[Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening]]'' (1944) Dalí said, "the noise of the bee here causes the sting of the dart that will wake Gala"]]
-Dalí était un avide lecteur de littérature scientifique qui recherchait la compagnie des hommes de science, parmi lesquels des prix Nobel, avec lesquels il pouvait discuter aussi bien de mécanique quantique que de mathématiques ou de génétique. Sa fascination pour la science se retrouve dans son art. Cet aspect méconnu de sa personnalité a fait l'objet en 2004 d'un film documentaire intitulé ''[http://www.dalidimension.com The Dali Dimension: A Genius’ Lifelong Obsession with Science]''.
+Dalí was introduced to America by art dealer [[Julian Levy]] in 1934, and the exhibition of Dalí works (including ''Persistence'') in New York created an immediate sensation. [[Social Register]] listees feted him at a specially organized "Dali Ball".  He showed up wearing on his chest a glass case containing a brassiere. <ref> Current Biography 1940, pp219-220 </ref>
-A rendu de l'amitié avec l'historien et scientifique [[Alexandre Deulofeu]], aussi ampourdanais comme lui-même.
+In 1936, Dalí took part in the [[London International Surrealist Exhibition]]. His lecture entitled {{lang|fr|''Fantomes paranoiaques authentiques''}} was delivered wearing a deep-sea diving suit.<ref>Jackaman, Rob. (1989) ''Course of English Surrealist Poetry Since the 1930s'', Edwin Mellen Press. ISBN 0-88946-932-6.</ref>
-==== Désintégration de la persistance de la mémoire  ====
+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." <ref> Current Biography 1940, p219 </ref>
+Dali, instead of condemning Hitler as his fellow surrealists, developed an obsessive interest in what he called "the Hitler phenomenon" which was frowned upon by his predominantly [[Marxist]] surrealist colleagues. Then, when [[Francisco Franco]] came to power in the aftermath of the [[Spanish Civil War]], Dalí was one of the few Spanish intellectuals supportive of the new regime <ref>[http://www.art-for-a-change.com/content/essays/dali.htm]</ref> which eventually resulted in his official expulsion from the surrealist group.<ref name=unbound /> At this, Dalí retorted, "{{lang|fr|Le surréalisme, c'est moi.}}"<ref name=olga /> [[André Breton]] coined the [[anagram]] "avida dollars" (for ''Salvador Dalí''), which more or less translates to "eager for dollars,"<ref name=artcyclopedia>[http://www.artcyclopedia.com/artists/dali_salvador.html Artcyclopedia: Salvador Dalí]. Retrieved [[September 4]], [[2006]].</ref> by which he referred to Dalí after the period of his expulsion. The surrealists henceforth spoke of Dalí in the past tense, as if he was dead. At this stage his main patron was the very wealthy [[Edward James]].
-Dalí, dans le préambule de son Manifeste de l’Antimatière (1958) explique que : « ''Durant la période surréaliste, j’ai voulu créer l’iconographie du monde intérieur, le monde merveilleux de mon père Freud et j’y suis arrivé. À partir des [[années 1950]], le monde extérieur — celui de la physique — a transcendé celui de la psychologie. Mon père, aujourd’hui, est le Docteur Heisenberg », se référant au chercheur allemand, spécialisé dans le domaine de la mécanique quantique, qui reçu le Prix Nobel en 1932.
+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.
-« Désintégration de la persistance de la mémoire », née entre 1952 et 1954 et qui reprend « La persistance de la Mémoire » (1931), constitue une œuvre emblématique de cette soi-disante reconversion des coordonnées de la cosmogonie psychanalytique en coordonnées de la quatrième dimension, modulées par la relativité de l’interaction spatio-temporelle au sein de l’équation espace-temps: une nouvelle cosmogonie engendrée par la Révolution scientifique du milieu du siècle dernier.
-De l’exploration freudienne de la persistance de la mémoire inconsciente du sujet humain, nous passons à la vertigineuse démolition des structures de la matière réalisée à l’aide de la physique nucléaire, où dans cet espace corpusculaire, les montres molles de l’imagination onirique pénètrent à l’intérieur des particules microscopiques. La méthode paranoïaque-critique, télédirigée par le nucléaire mystique, nous donne accès à la nouvelle cosmogonie Dalínienne, où nous pouvons admirer la persistance de la mémoire en voie de désintégration et la matière en processus permanent de dématérialisation.
+"During this period Dali never stopped writing," wrote Robert and Nicolas Descharnes. <ref> Descharnes, Robert and Nicolas. ''Salvador Dali''. New York: Konecky & Konecky, 1993. p. 35. </ref>  "In 1941, he drafted a film scenario for [[Jean Gabin]] called ''Moontide''. He wrote catalogs for his exhibitions like that at the Knoedler Gallery [in New York City in 1943] where he expounded, '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 have reached their paroxysm in the psychological signification of the current use of the college.'  He also wrote a novel ... published ... in 1944 ... about a fashion salon for automobiles.  This got a drawing by Edwin Cox in [[The Miami Herald]] showing him dressing an automobile in an evening gown."<ref> Descharnes, Robert and Nicolas. ''Salvador Dali''. New York: Konecky & Konecky, 1993. p. 35. </ref>
-===Dalí et le monde de la photographie===
+As [[World War II]] started in Europe, Dalí and Gala moved to the [[United States]] in 1940, where they lived for eight years.  After the move, Dalí returned to the practice of Catholicism. In 1942, he published his autobiography, ''The Secret Life of Salvador Dalí''.
-Dalí montra aussi un réel intérêt pour la photographie à laquelle il donna une place importante dans son œuvre. Il harmonise les décors et les photographes comme un peintre travaille sa toile avec ses pinceaux. Dalí photographe est la révélation d'une partie majeure et méconnue de la création dalinienne. Il travailla avec des photographes comme [[Man Ray]], [[Brassaï]], [[Cecil Beaton]], [[Philippe Halsman]]. Avec ce dernier il créa la fameuse série ''Dalí Atomicus''. C'est sans aucun doute [[Robert Descharnes]], son ami collaborateur-photographe pendant 40 années, qui a fait le plus de clichés de Dalí, l'homme et son œuvre.
+An Italian [[friar]], [[Gabriele Maria Berardi]], claimed to have performed an [[exorcism]] on Dalí while he was in France in 1947.  <ref>[http://www.cathnews.com/news/510/72.php Dalí's gift to exorcist uncovered] Catholic News 14 Oct. 2005</ref>  The friar's estate contained a sculpture of Christ on the cross which Dalí had given his exorcist to thank him. <ref>[http://www.cathnews.com/news/510/72.php Dali's gift to exorcist uncovered] Catholic News 14 Oct. 2005</ref>  The sculpture was discovered in 2005 and two Spanish experts in Surrealism confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.  <ref>[http://www.cathnews.com/news/510/72.php Dalí's gift to exorcist uncovered] Catholic News 14 Oct. 2005</ref>
-[[Image:Dali3.jpg|thumb|left|250px|Dalí à [[Paris]] en [[1934]], par [[Carl Van Vechten]]]]
-Avec le photographe de mode [[Marc Lacroix]], Dalí posa, en [[1970]], pour une série de portraits où il s'est mis en scène, dans des photos délirantes : "''Dalí à la couronne d'araignée de mer''", "''Dalí à la chemise d'Elvis Presley''", "''Dalí à l'oreille fleurie''", "''Avida Dollars''", avec le portrait de Dalí, au-dessus d'une enseigne de la Banque de France, entouré de billets à son effigie, "''Dalí en extase au-dessus d'un nid d'oursins dans la piscine phallique''", etc. Toujours avec [[Marc Lacroix]], il va tenter une expérience à laquelle il songe depuis toujours : la peinture en trois dimensions, qui se concrétisera dans le tableau "''Huit Pupilles''", fait à l'aide d'un appareil-prototype à prise de vue stéréoscopique : des images doubles presque similaires qui observées simultanément deviennent, par la magie des lois de l'optique, une seule et même image avec une profondeur.
+===Later years in Catalonia===
-L'une des images les plus marquantes est celle du peintre coiffé d'un chapeau haut de forme sur les côtés duquel il a disposé des masques de Joconde. Selon Thérèse Lacroix il l'a créé pour sa participation à un bal donné par la baronne Rothschild. Seule une moitié du visage de Dalí apparaît au milieu des sourires énigmatiques figés
+[[Image:Dali museum.jpg|thumb|right|[[Dalí Theatre and Museum]] in [[Figueres]]]]
-=== Dalí Sculpteur ===
+Starting in 1949, Dalí spent his remaining years back in his beloved Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and many other artists.<ref name=navarro>Navarro, Vicente, Ph.D. [http://www.counterpunch.org/navarro12062003.html "The Jackboot of Dada: Salvador Dalí, Fascist"]. ''Counterpunch''. [[December 6]], [[2003]]. Retrieved [[July 22]], [[2006]].</ref> As such, it is probable that at least some of the common dismissal of Dalí's later works had more to do with politics than the actual merits of the works themselves. In 1959, [[André Breton]] organized an exhibit called, ''Homage to Surrealism'', celebrating the Fortieth Anniversary of Surrealism, which contained works by Salvador 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.<ref name=lopez>López, Ignacio Javier. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. ''[[MLN]]'' 116 (2001): 295–314.</ref>
-Le souhait de Dalí était de traduire en volume et matière solide les fétiches et  obsessions issus de son  inconscient. C’est ainsi  qu’il restitua sous forme de  sculptures les grands thèmes de son œuvre picturale.
-Dans la "Vie secrète", l’un de ses récits autobiographiques, Salvador Dalí raconte qu’enfant, il fit un modelage de la Venus de Milo car elle figurait sur sa boîte de crayon : ce fut son premier essai de sculpture.
+Late in his career, Dalí did not confine himself to painting but experimented with many unusual or novel media and processes: he made [[bulletism|bulletist]] works<ref name=bp>[http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/ The Phantasmagoric Universe—Espace Dalí À Montmartre]. {{lang|fr|''Bonjour Paris''}}. Retrieved on [[August 22]], [[2006]].</ref> and was among the first artists to employ [[holography]] in an artistic manner.<ref name=holo>[http://www.holophile.com/history.htm The History and Development of Holography]. ''Holophile''. Retrieved on [[August 22]], [[2006]].</ref> Several of his works incorporate [[optical illusion]]s. In his later years, young artists like [[Andy Warhol]] proclaimed Dalí an important influence on [[pop art]].<ref name=warhol>[http://www.carnegiemuseums.org/cmag/bk_issue/1998/mayjun/feat2.htm Hello, Dalí]. ''Carnegie Magazine''. Retrieved on [[August 22]], [[2006]].</ref> Dalí also had a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably in the 1950s when he painted his subjects as composed of rhinoceros horns, signifying divine geometry (as the rhinoceros horn grows according to a logarithmic spiral) and chastity (as Dalí linked the rhinoceros to the Virgin Mary).<ref>Elliott H. King in Dawn Ades (ed.), ''Dalí'', Bompiani Arte, Milan, 2004, p. 456.</ref> Dalí was also fascinated by [[DNA]] and the [[Tesseract|hypercube]] - a 4-dimensional cube - and an unfolding of a hypercube is featured in the painting ''[[Crucifixion (Corpus Hypercubus)]]''.
-Dès les années 1930, Dalí s’essaye à la troisième dimension. En tant qu’artiste surréaliste tentant de traduire l’inconscient, les rêves, les sentiments et dans la lignée de Marcel Duchamp avec ses ready-made (Fontaine 1917), il s’intéresse à l’art de « l’objet » utilisant des matériaux et des matières inattendues.
+Dalí’s post-World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science and religion.  Increasingly Catholic, and inspired by the shock of Hiroshima, he labeled this period "Nuclear [[Christian mysticism|Mysticism]]". In paintings such as The Madonna of Port-Lligat (first version) of 1949 and Corpus Hypercubus, 1954, Dalí sought to synthesize Christian [[iconography]] with images of material disintegration inspired by nuclear physics.<ref>[http://www.arton5th.com/Dali/bio.html Salvador Dalí Bio, Art on 5th] Retrieved [[July 22]] [[2006]].</ref> “Nuclear Mysticism” included such notable pieces as La Gare de Perpignan, 1965, and Hallucinogenic Toreador, 1968–1970. In 1960, Dalí began work on the [[Dalí Theatre and Museum]] in his home town of [[Figueres]]; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s.
-Il crée des objets à fonctionnement symbolique  comme Le Buste de Femme Rétrospectif  en assemblant une marotte de modiste en porcelaine peinte avec différents autres objets de récupération (1933). L’objet surréaliste n’est pas pratique, il ne sert à rien à part attendrir les hommes, les épuiser, les abêtir. L’objet surréaliste est fait uniquement pour l’honneur, il n’a pas d’autre but que l’honneur de la pensée.
+[[Image:Dali Crucifixion hypercube.jpg|160px|right|thumb|''[[Crucifixion (Corpus Hypercubus)]]'' (1954)]]
-Progressivement, Dalí revient à une technique traditionnelle. Il commence par une pâte molle de cire à laquelle il impose la forme qu’il veut en concrétisant l’irrationalité de son imagination. Puis, il donne la dureté nécessaire à sa création en la coulant en bronze pour qu’elle puisse prendre place dans le monde extérieur. Ces sculptures sont réalisées selon la technique dite à  la cire perdue* . Elles représentent un aspect significatif de la création artistique de Dalí et fournissent une synthèse de son intérêt pour la forme. Ces sculptures en bronze sont effectivement du surréalisme dans la troisième dimension.
+In 1968, Dalí filmed a television advertisement for Lanvin chocolates<ref>[http://ehotelier.com/browse/news_item.php?id=P12135 Salvador Dali at Le Meurice Paris and St Regis in New York] Andreas Augustin, ehotelier.com, 2007</ref> and in 1969 designed the [[Chupa Chups]] logo. Also in 1969, He was responsible for creating the advertising aspect of the [[1969 Eurovision Song Contest]], and created a large metal sculpture, which stood on the stage at the Teatro Real in Madrid.
-Conçues par Dalí et réalisées à partir de ses plus célèbres tableaux, les sculptures en bronze, telles que la  Persistance de la Mémoire, le Profil du Temps, la Noblesse du Temps, Vénus à   la girafe, Le Toréador hallucinogène, La Vénus spatiale, Alice au pays des Merveilles, l’Eléphant spatial témoignent avec une vigueur extrême de la force d’expression de ses images iconographiques surréelles.
+In the television programme ''Dirty Dalì: A Private View'' broadcast on [[Channel 4]] on [[June 3]], [[2007]], the 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.<ref>[http://living.scotsman.com/index.cfm?id=869862007 Scotsman review of Dirty Dalí]</ref><ref>[http://www.thisislondon.co.uk/arts/article-23398918-details/The+Dali+I+knew/article.do   The Dali I knew] By Brian Sewell, thisislondon.co.uk</ref>
-*Technique de la fonte à la cire perdue :
+In 1980, Dalí's health took a catastrophic turn. His near-[[senile]] wife Gala was dosing him with a dangerous cocktail of non-prescribed medicine that damaged  his nervous system, thus causing an untimely end to his artistic ability. At 76 years old, the 'ever-healthy' Dalí was a complete wreck, his right hand trembling terribly, [[Parkinson's disease|Parkinson]]-like.<ref>Ian Gibson (1997). ''The Shameful Life of Salvador Dali''. W. W. Norton & Company. </ref>
-Cette technique permet de fabriquer des objets en métal à partir d’un modèle en cire. La cire est recouverte d’une mixture réfractaire pour former un moule. Le moule est soumis à une source de chaleur pour faire fondre la cire. Cette opération s’appelle le décirage. Lorsque le moule est vide, il est rempli de métal liquide. Plus tard, le moule bivalve est ouvert pour mettre à jour l’objet brut de fonderie. Des opérations de finition sont alors exécutées pour apporter le bel aspect à l’objet: ébarbage, réparure, ciselure et patine.
-*l'[[Espace Dalí]] présente la collection comprenant plus d’une quinzaine de sculptures originales conférant à cette exposition son statut de plus importante collection en France.
+In 1982, King [[Juan Carlos of Spain]] bestowed on Dalí the title [[Marquess|Marquis]] of [[Pubol]], for which Dalí later paid him by giving him a drawing (''Head of Europa'', which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.
-=== Dalí et l'architecture ===
+Gala died on [[June 10]], [[1982]]. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself—possibly as a suicide attempt, possibly in an attempt to put himself into a state of suspended animation, as he had read that some [[microorganism]]s could do. He moved from Figueres to the [[Castle of Púbol|castle in Púbol]] which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom<ref>[http://query.nytimes.com/gst/fullpage.html?res=9905E1DB1038F932A3575AC0A962948260  "Dalí Resting at Castle After Injury in Fire"]. ''[[The New York Times]]''. [[September 1]], [[1984]]. Retrieved [[July 22]], [[2006]]</ref> under unclear circumstances—possibly a suicide attempt by Dalí, possibly simple negligence by his staff.<ref name=olga /> In any case, Dalí was rescued and returned to Figueres where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his [[Dalí Theatre and Museum|Theater-Museum]] for his final years.
-[[Image:Dalí.Perseo.JPG|thumb|right|''Perseo'', sculpture à [[Marbella]]]]
-En [[1939]], pour l'exposition universelle, il créa le pavillon ''Dream of Venus''. Il s'agissait d'une attraction foraine surréaliste, avec entre autres, une [[Vénus (mythologie)|Vénus]] terrassée par la fièvre de l'amour sur un lit de satin rouge, des sirènes et des [[girafe]]s. De cette maison, il n'en reste plus que le souvenir, une quarantaine de photos d'[[Éric Schaal]], un film de huit minutes, et le somptueux quadriptyque aux montres molles, conservé au [[Japon]].
-Le peintre a fait du surréalisme un art de vivre. À [[Port Lligat]], il a décoré sa maison à sa manière, "''en prince du kitsch, de l'ironie et de la dérision''". Sa bibliothèque est volontairement inaccessible, avec des rangées de livres installées au plus haut du mur, afin que nul ne puisse les atteindre. Dans l'axe de la piscine phallique, un temple avec une grande table d'autel, où il s'abrite du soleil et reçoit ses amis. Le fond de sa piscine, à la forme phallique, est tapissé d'oursins; il s'agit d'une commande du maître au sculpteur [[César Baldaccini|César]] qui a réalisé une coulée de polyester pour "''marcher sur les oursins comme le Christ a marché sur les eaux''". Le patio a la forme d'une silhouette de femme tirée de ''L'Angélique'' de Millet. Le canapé est fait selon un moulage des lèvres de [[Mae West]]. Le mur du fond, appelé "mur Pirelli" est décoré avec de grandes publicités de pneus.
+[[Image:Dali Temptation of St Anthony.jpg|thumb|right|''The Temptation of St. Anthony'' (1946) contained Dalí's symbolic elephant, Musee d'Art Moderne in Brussels]]
-===Dalí et la littérature===
+There have been allegations that his guardians forced Dalí to sign blank canvasses that would later (even after his death) be used and sold as originals.<ref name="scandal">{{cite book | title=The Dalí Scandal: An Investigation | author=Mark Rogerson | id=ISBN 0575037865 | publisher=Victor Gollancz | year=1989}}</ref> As a result, art dealers tend to be wary of late works attributed to Dalí. He died of heart failure at Figueres on [[January 23]], [[1989]] at the age of 84, and he is buried in the [[commons:Image:Salvador Dali Crypt in Figueres.jpg|crypt]] of his Teatro Museo in Figueres.
-Dalí a écrit, pendant la guerre, un unique roman ''Visages Cachés''. Il y met en scène l'aristocratie française durant cette même guerre, et notamment la passion amoureuse de deux personnages, le duc de Grandsailles et Solange de Cléda. Cette dernière est l'illustration de ce qu'il a lui même nommé  le "clédalisme" ayant pour but de clore "la trilogie passionelle inaugurée par le Marquis de Sade" dont les deux premiers éléments sont sadisme et masochisme.
+==Symbolism==
-Dalí est également l'auteur de textes qui exposent ses idées, sa conception de la peinture et donnent des éléments biographiques très intéressants pour comprendre la genèse de certains de ses tableaux. Ces textes qui ont élé longtemps difficiles à trouver sont actuellement réédités sous les titres suivants :
+Dalí employed extensive symbolism in his work. For instance, the hallmark soft watches that first appear in ''The Persistence of Memory'' suggest [[Albert Einstein|Einstein]]'s theory that [[Special Relativity|time is relative]] and not fixed.<ref name=Conquete /> The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of [[Camembert (cheese)|Camembert cheese]] during a hot day in August.<ref>Salvador Dalí, ''The Secret Life of Salvador Dalí'' (New York: Dial Press, 1942), p. 317.</ref>
-*''La vie secrète de Salvador Dalí'' qui donne les éléments biographiques les plus intéressants notamment sur son enfance, ses relations problématiques avec son père et la conviction acquise dès l'enfance qu'il était un génie.
+The elephant is also a recurring image in Dalí's works. It first 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|Gian Lorenzo Bernini's]] sculpture  [[Obelisks in Rome#6|base]] in Rome of an [[Santa Maria sopra Minerva#Minerva's Pulcino|elephant carrying an ancient obelisk]],<ref>Michael Taylor in Dawn Ades (ed.), ''Dalí'' (Milan: Bompiani, 2004), p. 342</ref> are portrayed "with long, multi-jointed, almost invisible legs of desire"<ref name=countycollection>[http://www.countyhallgallery.com/education/dali_collection.htm Dalí Universe Collection]. ''County Hall Gallery''. Retrieved on [[July 28]], [[2006]].</ref> 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."<ref name=countycollection /> … 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''.
-*''Journal d'un génie'' qui couvre les années 1952 à 1963.
-*''Oui'' qui expose ses conceptions théoriques dans deux grands textes : ''La révolution paranoïaque-critique'' qui est sans doute l'un de ses textes le plus important et ''L'archangélisme scientifique''
-Salvador Dalí a aussi illustré ''Fantastic memories'' ([[1945]]), ''La Maison sans fenêtres'', ''Le labyrinthe'' ([[1949]]) et ''La Limite'' ([[1951]]) de [[Maurice Sandoz]], dont il fit connaissance à [[New York]] au début des [[années 1940]].
+The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;<ref name=symb>[http://www.countyhallgallery.com/education/dali_symbols.htm "Salvador Dalí's symbolism"]. ''County Hall Gallery''. Retrieved on [[July 28]], [[2006]]</ref> it appears in ''[[The Great Masturbator]]'' and ''[[Metamorphosis of Narcissus|The Metamorphosis of Narcissus]]''. Various animals appear throughout his 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.<ref name=symb />
-=== Dalí et la sexualité ===
+==Endeavors outside painting==
-Dans son livre. ''[[Dalí et moi]]'', [[Catherine Millet]] révèle que le fil conducteur de l'œuvre de Dalí est le sexe : [[onanisme]], [[scatologie]], [[impuissance]], [[abstinence]], [[voyeurisme]], seraient les secrets intimes du peintre.
+ [[Image:Dalí.Rinoceronte.JPG|thumb|right|''Rinoceronte vestido con puntillas'' (1956), [[Puerto José Banús]]]] Dalí was a versatile artist, not limiting himself only to painting in his artistic endeavors. Some of his more popular artistic works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas.
-Dalí se vantait d'être impuissant, d'où sa propension à peindre des objets mous. Il n'aurait connu qu'une seule femme, Gala, l'unique qui le guérit de sa phobie des femmes qu'il a longtemps comparées à des [[Mante religieuse|mantes religieuses]].
+Two of the most popular objects of the surrealist movement were the ''[[Lobster Telephone]]'' and the ''[[Mae West Lips Sofa]]'', completed by Dalí in 1936 and 1937, respectively. The [[Scottish people|Scottish]] [[patronage|patron]] [[Edward James]] commissioned both of these pieces from Dalí; James, an eccentric who had inherited a large English estate when he was five, was one of the foremost supporters of the surrealists in the 1930s.<ref name=natgalaust> [http://www.nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607 Lobster telephone]. ''National Gallery of Australia''. Retrieved on [[August 4]], [[2006]].</ref> "Lobsters and telephones had strong sexual connotations for [Dalí]" according to the display caption for the ''Lobster Telephone'' at the [[Tate Gallery]], "and he drew a close analogy between food and sex."<ref name=tate> [http://www.tate.org.uk/servlet/ViewWork?workid=2988 Tate Collection | Lobster Telephone by Salvador Dalí]. ''Tate Online''. Retrieved on [[August 4]], [[2006]].</ref> The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the [[Tate Gallery]]; the second can be found at the German Telephone Museum in [[Frankfurt]]; the third belongs to the Edward James Foundation; and the fourth is at the [[National Gallery of Australia]].<ref name=natgalaust />
-Il invitait souvent à ses soirées [[Amanda Lear]] dont il se plaisait, par espièglerie ou malice, à faire croire à ses interlocuteurs qu'elle était un homme. Alors inconnue, Amanda Lear comprit tout le parti qu'elle pourrait tirer, dans les médias, de cette sulfureuse réputation et s'autoproclama "égérie de Salvador Dali".
+[[Image:Dalí. Gala.JPG|thumb|right|''Gala in the window'' (1933), [[Marbella]]]]
-Il adorait particulièrement les femmes peintes par [[Johannes Vermeer]]. Dans le musée qu'il a conçu à Figueres, Dali rend hommage à l'actrice [[Mae West]], sexe-symbole de l'entre-deux-guerres.
+The wood and satin ''Mae West Lips Sofa'' was shaped after the lips of actress [[Mae West]], whom Dalí apparently found fascinating.<ref name=unbound /> West was previously the subject of Dalí's 1935 painting ''The Face of Mae West''. The ''Mae West Lips Sofa'' currently resides at the Brighton and Hove Museum in England.
+During the years between 1941 and 1970 Dalí was also responsible for creating a striking ensemble of jewels, 39 in total. The jewels created are intricate and some contain actual moving parts. The most famous jewel created by Dalí, "The Royal Heart", is crafted  using gold and is encrusted with forty-six rubies, forty-two diamonds and four emeralds, and is created in such a way that the center "beats" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist." (Dalí, 1959.) The Dali —Joies (The Jewels of Dali) collection can be seen at the Dali Theater Museum in Figueres, Catalonia, Spain, where it is on permanent exhibition.
-Au final, [[Catherine Millet]], s'interroge sur la puissance créatrice et l'image de soi, et révèle que les fantasmes de Dalí sont essentiellement existentiels ; c'est pour cela qu'il aurait fait de sa propre vie une œuvre d'art, afin de se libérer de tout narcissisme dans le but d'exister dans le regard des autres.
+In theatre, Dalí is remembered for constructing the scenery for García Lorca's 1927 romantic play ''[[Mariana Pineda]]''.<ref>[http://www.kirjasto.sci.fi/fglorca.htm Federico García Lorca]. ''Pegásos''. Retrieved on [[August 8]], [[2006]].</ref> For ''[[Bacchanale]]'' (1939), a ballet based on and set to the music of [[Richard Wagner]]'s 1845 opera ''[[Tannhäuser (opera)|Tannhäuser]]'', Dalí provided both the set design and the libretto.<ref name=designws>[http://www.designws.com/pagina/1dalieng.htm Dalí Rotterdam Museum Boijmans]. ''Paris Contemporary Designs''. Retrieved on [[August 8]], [[2006]].</ref> ''Bacchanale'' was followed by set designs for ''Labyrinth'' in 1941 and ''The Three-Cornered Hat'' in 1949.<ref>[http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html Past Exhibitions]. ''Haggerty Museum of Art''. Retrieved [[August 8]], [[2006]].</ref>
-=== Ses œuvres ===
+Dalí also delved into the realms of [[filmmaking]], most notably playing a large role in the production of ''[[Un Chien Andalou]]'', a 17-minute French art film co-written with [[Luis Buñuel]] that is widely remembered for its graphic opening scene simulating the slashing of a human [[eyeball]] with a [[razor]]. Dalí collaborated again with [[Luis Buñuel]] on the 1930 film, ''L'Âge d'Or'', and went on to write a number of filmscripts, very few of which made it past conception. The most well-known of his film projects is probably the dream sequence in [[Alfred Hitchcock's]] <em>[[Spellbound (1945 film)|Spellbound]]</em>, which heavily delves into themes of psychoanalysis. He also worked on a [[Disney]] cartoon production ''[[Destino]]''; completed in 2003 by Baker Bloodworth and [[Roy Oliver Disney|Roy Disney]], it contains dream-like images of strange figures flying and walking about. Dalí completed only one other film in his lifetime: ''Impressions of Upper Mongolia'' (1975), in which he narrated a story about an expedition in search of giant hallucinogenic mushrooms. The imagery was based on microscopic uric acid stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.<ref>Elliott H. King, [http://www.kamera.co.uk/article.php/895 ''Dalí, Surrealism and Cinema''], Kamera Books 2007, p. 169.</ref>
-Salvador Dali a peint 1648 toiles.
-[[Image:Dalí. Caballo.JPG|300px|thumb|Salvador Dalí]]
-Liste non exhaustive de ses œuvres :
-* 1927 : ''l'accommodement du désir''
-* 1929 : ''le jeu lugubre''
-* 1929 : ''L'énigme du désir : ma mère, ma mère, ma mère'' - ''Portrait de Paul Éluard''
-* 1930 : ''Fonctionnement symbolique d'un objet scatologique''
-* 1931 : ''[[La persistance de la mémoire]]''.
-* ''Hallucination partielle Six images de Lénine sur un piano''
-* 1932 : ''Méditation sur la harpe''- "naissances des plaisirs liquides"
-* 1934 : ''Enfant géopolitique observant la naissance de l'homme nouveau'' - ''Vestiges ataviques après la pluie'' - ''Le sevrage du meuble-aliment''
-* 1935 : ''Réminiscence archéologique de l'Angelus de Millet''
-* 1936 : ''Construction molle avec des haricots bouillis : Prémonition de la guerre civile'' - ''Cannibalisme en automne'' - ''Les Girafes allégées'' - ''Le Téléphone homard''
-* 1937 : ''La Métamorphose de Narcisse'' - ''Cygnes réfléchissant des éléphants''
-* 1938 : " L'enigme sans fin" - " apparition d'un visage "
-* 1939 : ''Le Rêve de Vénus'', ''Shirley Temple, le monstre le plus jeune, le plus sacré de son temps''
-* 1940 : Marché d'esclaves avec le buste de Voltaire disparaissant''
-* 1940 : ''vieillesse, adolescence, enfance''
-* 1941 : ''Le Miel est plus doux que le sang
-* 1944 : ''Rêve causé par le vol d'une abeille autour d'une pomme-grenade une seconde avant l'éveil''
-* 1946 : ''La Tentation de Saint Antoine''
-* 1948 : ''Léda Atomica''
-* 1948 : ''Les éléphants''
-* 1949 : ''La Madone de Port Lligat''
-* 1949 : ''La Maison Surréaliste''
-* 1951 : ''Le Christ de Saint Jean de la Croix''
-* 1954 : ''Dalí nu en contemplation devant cinq corps réguliers métamorphosés en corpuscules, dans lesquels apparaît soudainement la Léda chromosomatisée par le visage de Gala'' - ''Le Colosse de Rhodes'' - ''Crucifixion'' - ''Jeune vierge autosodomisée par sa propre chasteté'' - ''Autoportrait en Mona Lisa''
-* 1956 : ''Nature morte vivante''
-* 1959 : ''Paysage aux Papillons'' - ''Apparition du visage d'Aphrodite''
-* 1965 : ''[[La Gare de Perpignan]]''
-* 1969 : ''Le Toréador halluciné''
-* [[1972]] ''[[La Toile Dalígram]]''
-* Un ''Christ dentrite'' long de 12 mètres composé avec des débris laissés sur la plage après une terrible tempête.
-===La symbolique de Dalí ===
+Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with the Italian fashion designer [[Elsa Schiaparelli]] is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. With [[Christian Dior]] in 1950, Dalí created a special "costume for the year 2045."<ref name=designws /> Photographers with whom he collaborated include [[Man Ray]], [[Brassaï]], [[Cecil Beaton]], and [[Philippe Halsman]].
+[[Image:Dali Atomicus2.jpg|thumb|right|A photograph from the ''Dalí Atomica'' series (1948) by [[Philippe Halsman]]]]
-==== Clés  ====
+With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including with Halsman the ''Dalí Atomica'' series (1948)—inspired by his painting ''Leda Atomica''—which in one photograph depicts "a painter’s easel, three cats, a bucket of water and Dalí himself floating in the air."<ref name=designws />
-La clé est un objet d’utilité symbolique qui apparaît souvent dans les différentes mythologies. Dans la mythologie Dalínienne, il y a un grand jeu autour des clés qui nous invite à accéder aux chambres secrètes de son univers singulier et à explorer les trésors qui s’y cachent.
+References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of [[quantum mechanics]] in the twentieth century. Inspired by [[Werner Heisenberg]]'s [[Uncertainty principle]], in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist period I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today the exterior world and that of physics, has transcended the one of psychology. My father today is Dr. Heisenberg."<ref name=triangle>[http://www.thetriangle.org/media/storage/paper689/news/2005/04/29/Entertainment/Dali-Explorations.Into.The.Domain.Of.Science-944328.shtml?norewrite200608080502&sourcedomain=www.thetriangle.org Dalí: Explorations into the domain of science]. ''The Triangle Online''. Retrieved [[August 8]], [[2006]].</ref>
-Les siestes de Dalí avec la clé sont légendaires et rappellent celles que faisaient les moines de Toledo. Il mettait une assiette sur le sol, s’asseyait sur une chaise, de la manière la plus inquisitoriale qui soit, avec une clé à la main. Pendant qu’il dormait, la clé tombait dans l’assiette et, automatiquement, il se réveillait alors qu’il avait toujours dans les yeux les visions énigmatiques des songes de son sommeil réparateur.
-Comme cette clé des siestes tolédiennes, les clés de l’iconographie Dalínienne nous permettent d’ouvrir les portes du labyrinthe au centre duquel on trouve les clés secrètes qui donnent accès à son Royaume Imaginaire où, d’ici à l’éternité, il nous invite à déchiffrer une énigme délirante et sans fin.
-==== Fourmis  ====
+[[Image:DisintegrationofPersistence.jpg|thumb|right|''[[The Disintegration of the Persistence of Memory]]'' (1954) was Dalí's way of ushering in the new science of physics above psychology]]
-Dalí était un grand passionné des mouches qu’il considérait comme l’insecte paranoïaque-critique par excellence, cependant il exprimait une aversion atavique pour les fourmis.
+In this respect, ''[[The Disintegration of the Persistence of Memory]]'', which appeared in 1954, in hearkening back to ''The Persistence of Memory'' and portraying that painting in fragmentation and disintegration, summarizes Dalí's acknowledgment of the new science.<ref name=triangle />
-Lorsqu’il était petit, il vit une fourmi dévorer un lézard en état de décomposition. Plus tard, déjà adolescent, dans ses rites de sublimation de l’angoisse et de l’exorcisme de la mort, il avait l’habitude de se risquer à regarder une caisse pleine de fourmis illuminées par des gouttes phosphorescentes afin de conjurer le funeste Destin.
-Ainsi, ses insectes, emblème de Cérès, restèrent associés à l’image de la mort et c’est pour cela que l’apparition des fourmis tout au long de son œuvre transmit une connotation lugubre. Dalí, toujours ambivalent, a incorporé à son univers boulimique le beau qui l’exaltait mais aussi le sinistre qui l’horrifiait et il Dalínisa aussi bien ses craintes que ses phobies, sentiments qui étaient, pour lui, inextricablement liés. Pour lui, la répugnance est une sentinelle qui reste très proche de nos plus profonds désirs. Pour preuve, une procession de minuscules et frénétiques fourmis parcourt toute son œuvre, pullulant à travers ce saisissant, extravagant et singulier camembert paranoïaque-critique qu’est l’espace temps Dalínien.
-==== Oursin de mer ====
+Architectural achievements include his Port Lligat house near Cadaqués as well as the ''Dream of Venus'' surrealist pavilion at the 1939 [[World's Fair]] which contained within it a number of unusual sculptures and statues. His literary works include ''The Secret Life of Salvador Dalí'' (1942), ''Diary of a Genius'' (1952–1963), and ''Oui: The Paranoid-Critical Revolution '' (1927–1933). The artist worked extensively in the graphic arts producing many etchings and lithographs. While his early work in printmaking is equal in quality to his important paintings as he grew older, he would sell the rights to images but not be involved in the print-production itself. In addition, a large number of unauthorized fakes were produced in the eighties and nineties thus further confusing the Dalí print market.
-Pour Dalí, l’oursin de mer (avec son hémisphère, protégé par un squelette de calcaire, formé par des plaques polygonales et couvert d’épines articulées, avec la bouche au milieu de la face inférieure et l’arrière train dans la partie supérieure) c’est un microcosme parfait modelé à l’image du décaèdre. Pour lui, quant à travers l’eau agitée de la mer, il admirait le rythme anesthésiant et silencieux des oursins; dans le paroxysme de sa vision, il les imaginait comme la représentation même de l’Univers.
+One of Dalí's most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965 Dalí met [[Amanda Lear]], a fashion model then known as Peki D'Oslo.<ref name=Prose>Prose, Francine. (2000) ''The Lives of the Muses: Nine Women and the Arists they Inspired''. Harper Perennial. ISBN 0060555254.</ref> Lear became his protegé and muse,<ref name=Prose>Prose, ''The Lives of the Muses''.</ref> writing about their affair in the authorized biography ''My Life With Dalí'' (1986).<ref name=Lear>Lear, Amanda. (1986) ''My Life with Dalí''. Beaufort Books. ISBN 0825303737.</ref> Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the disco-art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop,<ref name=Prose>Prose, ''The Lives of the Muses''.</ref> and it has been speculated that Dalí financed Lear's sex reassignment surgery. Referred to as Dalí's "Frankenstein,"<ref name=Lozano>Lozano, Carlos. (2000) ''Sex, Surrealism, Dalí, and Me''. Razor Books Ltd. ISBN 0953820505.</ref> some believe Lear's name is a pun on the French "L'Amant Dalí," or Lover of Dalí. Lear took the place of an earlier muse, [[Ultra Violet (Isabelle Collin Dufresne)]], who had left Dalí's side to join the Factory of [[Andy Warhol]].<ref name=Etherington-Smith>Etherington-Smith, Meredith. (1995) ''The Persistence of Memory: A Biography of Dali''. Da Capo Press. ISBN 0306806622.</ref>
-Dans sa vie quotidienne, Dalí vivait entouré de squelettes d’oursin, tous avec leur jolie et délicate armure à fleur de « chair de poule », situés sur les étagères des murs blancs de son labyrinthe résidentiel de Port Lligat où il se réfugiait avec Gala loin des mondanités.
-Lors de ses banquets, les oursins ne manquaient pas non plus. Dans un premier temps, il les considérait comme l’adrénaline la plus appropriée pour déclencher systématiquement un délire; par ailleurs, dans différentes cultures, ils symbolisent la force vitale et le principe fondamental.
-==== Piano ====
+==Politics and personality==
-Quand Dalí était petit, le piano à queue était un instrument de musique réservé aux bourgeois. Aussi, dans son désir d’imiter les cercles d’aristocrates distingués, il le disposa dans ses manoirs à la vue de tous comme un symbole emblématique de son appartenance à une conception bourgeoise et spécifique de la « Haute Culture ».
+[[Image:Salvador Dali NYWTS.jpg|thumb|right|Making antics in the 1960s]]
-Pour le jeune Dalí, cet honorable instrument de musique connotait la putréfaction qui émanait de la sarment qui pour lui représentait « l’Art » décadent mis au service de l’Ordre Culturel répressif d’une société réactionnaire qu’il voulait, dans son désir subversif, à la fois tester et éradiquer. C’est à partir de là que vont se préciser chez Dalí de fortes pulsions sadiques pour le piano à queue. Ainsi, par exemple, les couvercles de ses pianos à queue apparaissent décorés avec des ânes dotées d’énormes mâchoires en état de décomposition; ou bien des têtes de mort atmosphériques sodomites avec de larges os et des orbites vides et démesurés violant sauvagement les pianos par le clavier; ou de l’intérieur émergent des fontaines nécrophiles dont ruisselle un liquide létal ; ou de ses touches bleutées et brillantes apparaissent soudain une série décroissante de petits cercles jaunes phosphorescents  encadrant le visage de Lénine.
-==== Éléphant ====
+Salvador Dalí's politics played a significant role in his emergence as an artist. He has sometimes been portrayed as a supporter of the [[authoritarian]] [[Franco]].<ref name=navarro /><ref>{{cite journal |author=Vicente Navarro | title=Salvador Dali, Fascist | journal=[[CounterPunch]] |date=12 December 2003 | url=http://www.countercurrents.org/dali-navarro121203.htm }}</ref> [[André Breton]], leader of the surrealist movement, made a strong effort to dissociate his name from surrealists proper.  The reality is probably somewhat more complex; in any event, he was not an [[antisemitism|antisemite]], as he was a friendly acquaintance of famed architect and designer [[Paul László]], who was Jewish.  He also professed great admiration for Freud (whom he met), and Einstein, both Jewish, as can be verified throughout his writings. In his critical review of Dalí's autobiography ''Secret Life,'' [[George 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."<ref name="Orwell Review">{{cite journal | author=George Orwell | title=Benefit Of Clergy: Some Notes On Salvador Dali | journal=[[The Saturday Book|The Saturday Book for 1944]] | year=1944 | url=http://whitewolf.newcastle.edu.au/words/authors/O/OrwellGeorge/essay/CriticalEssays/salvadordali.html }}</ref> The misunderstanding probably arises from Dalí's deliberately provocative scorn for the communist leanings of his peers, and the fact that he painted Hitler on more than one occasion.{{Fact|date=December 2007}} However, as he correctly pointed out to his critics at the time, it was impossible for him to have been a supporter of Hitler, who would have "done away with hysterics" such as Dalí.
-L’éléphant est l’animal terrestre le plus grand qui existe de nos jours. Dans la tradition hindou, les éléphants, étant donné leurs éléphantesques extrémités inférieures, sont les cariatides de l’univers. Cet animal mythique, symbole de la force démesurée et de la monture des rois, possède paradoxalement, dans l’univers de Dalí, des pattes extrêmement longues et voyage au trot, avec une ondulation constante et convulsive, transportant un obélisque sur le dos avec les emblèmes papaux, comme les éléphants de Bernini; tandis qu’ils se caressent à l’aide de leur trompes tels les éléphants de Montaigne.
+In his youth, Dalí embraced for a time both [[anarchism]] and [[communism]]. His writings account various anecdotes of making radical political statements more to shock listeners than from any deep conviction, which 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 [[Trotsky]]ist [[Andre Breton]] who is said to have called Dalí in for questioning on his politics. In his 1970 book ''Dali by Dali'', Dalí was declaring himself an anarchist and monarchist giving rise to speculations of [[Anarcho-Monarchism]].
-Dans le domaine de la zoologie fantastique Dalínienne, ces éléphants, graves et minces à la fois, aux pattes filiformes, sont le résultat d’une zoosynthèse surréaliste dont l’anatomie chimérique se combine en différentes espèces d’animaux: des pachydermes jusqu’aux arachnides, en passant par les oiseaux mouches. En somme, un animal fabuleux particulièrement approprié pour que l’on puisse monter sur son dos et s’aventurer à parcourir à grandes échasses, les paysages surréalistes de la géographie Dalínienne.
-==== Carolineta ====
+While in [[New York City]] in 1942, he denounced his colleague, surrealist filmmaker [[Luis Buñuel]], as an atheist, causing Buñuel to be fired from his position at the [[Museum of Modern Art]] and subsequently [[blacklisted]] from the [[American film industry]].<ref>"In his book ''The Secret Life of Salvador Dalí'', I was described as an atheist, an accusation that at the time was worse than being called a Communist. Ironically, at the same moment that Dalí's book appeared, a man named Prendergast who was part of the Catholic lobby in Washington began using his influence with government officials to get me fired. [At Buñuel's job at the Museum of Modern Art he was tasked with selecting and distributing anti-Nazi propaganda films to North and South America, and he was also supposed work on producing such films.] I knew nothing at all about it, but one day when I arrived at my office, I found my two secretaries in tears. They showed me an article in a movie magazine called ''Motion Picture Herald'' about a certain peculiar character named Luis Buñuel, author of the scandalous ''[[L'Âge d'Or]]'' and now an editor at the Museum of Modern Art. Slander wasn't exactly new to me, so I shrugged it off, but my secretaries insisted that this was really very serious. When I went into the projection room, the projectionist, who'd also read the piece, greeted me by wagging his finger in my face and smirking, "Bad Boy!"
+<br/>
+Finally, I too became concerned and went to see Iris, who was also in tears. I felt as if I'd suddenly been sentenced to the electric chair. She told me that the year before, when Dalí's book had appeared, Pendergast had lodged several protests with the State Department, which in turn began to pressure the museum to fire me. They'd managed to keep things quiet for a year; but now, with this article, the scandal had gone public, on the same day that American troops disembarked in Africa.
+<br/>
+Although the director of the museum, Alfred Barr, advised me not to give in, I decided to resign, and found myself once again out on the street, forty-three and jobless." {{cite book | author=Luis Buñuel | title=My Last Sigh: The Autobiography of Luis Buñuel | year=1984 | publisher=Vintage | pages=182–183 | url=http://www.adherents.com/people/pb/Luis_Bunuel.html }}</ref>
-Carolineta était le tendre diminutif familier d’une tante-cousine éloignée de Dalí qui mourut d’une méningite à l’âge de 24 ans. Dalí, de 10 ans son cadet, continua de se souvenir de cette douce femme vêtue de blanc qui sautait toujours à la corde, qu’il vit apparaître, lorsqu’il était petit, un jour ensoleillé sur la plage enchantée de Roses.
+[[Image:SalvadorDali-SoftConstructionWithBeans.jpg|thumb|right|''[[Soft Construction with Boiled Beans (Premonition of Civil War)]]'' (1936)]]
-Et ce souvenir infantile gravé dans sa mémoire, il le recréa, de manière obsessionnelle, à travers une série d’images de prédictions spirituelles dans lesquelles le pressentiment de cette apparition fantasmatique se propage comme un écho morphologique pour qui la gracieuse silhouette de Carolineta, se dédouble constamment, se métamorphose et se fond en une cloche, dont le tintement inaudible annonce le réveil de Carolineta de son funeste sommeil et le moment précis de son retour éternel.
-== Divers ==
+With the outbreak of the [[Spanish Civil War]], Dalí fled from fighting and refused to align himself with any group. Likewise, after [[World War II]], [[George Orwell]] criticized Dalí for "scuttl[ing] off like rat as soon as France is in danger" after Dalí prospered there for 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."<ref name="Orwell Review"/> After his return to [[Catalonia]] after World War II, Dalí became closer to the [[Francisco Franco|Franco]] regime. Some of Dalí's statements supported the Franco regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces".  Dalí, being a Catholic, was almost certainly referring to the communists and anarchists who had [[Red Terror (Spain)|killed almost 7,000 priests and nuns]] during the Spanish Civil War.  Dalí sent telegrams to Franco, "praising him for signing death warrants for political prisoners."<ref name=navarro /> Dalí even met Franco personally<ref>[http://www.andrewcusack.com/blog/2005/07/franco_jokes.php Salvador Dalí pictured with Francisco Franco]</ref> and painted a portrait of Franco's granddaughter. It is impossible to determine whether his tributes to Franco were sincere or whimsical; 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.<ref name=coversations />
-=== Avida Dollars ===
-Les artistes et les intellectuels avant-gardistes du vingtième siècle, y compris les plus marxistes, ont toujours dissimulé leurs liens étroits avec le marché capitaliste de l’art et de la littérature. En revanche, Dalí, qui adorait aller à contre-courant, a toujours fait étalage de sa passion pour l’argent. Et ainsi, lorsque André Breton, le père du [[surréalisme]], voulut le dénigrer en le caractérisant de «&nbsp;avida dollars&nbsp;», sobriquet résultant de la transposition anagrammatique des lettres «&nbsp;Salvador Dalí&nbsp;», celui-ci prit à son compte ce surnom, dans le but de provoquer, et le convertit en l’un de ses symboles les plus significatifs, de telle façon qu’il fait désormais partie de sa «&nbsp;légende dorée&nbsp;».
+Dalí was a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí."<ref name=smithsonian>[http://www.smithsonianmagazine.com/issues/2005/april/dali.php?page=3 The Surreal World of Salvador Dalí]. ''Smithsonian Magazine.'' 2005. Retrieved [[August 31]], [[2006]]</ref> 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. When signing autographs for fans, Dalí would always keep their pens. When interviewed by [[Mike Wallace (journalist)|Mike Wallace]] on his ''[[60 Minutes]]'' television show, Dalí kept referring to himself in the third person, and told the startled Mr. Wallace matter-of factly that "Dalí is immortal and will not die". During another television appearance, on the ''[[Tonight Show]]'', Dalí carried with him a leather rhinoceros and refused to sit upon anything else.
-En réplique à [[André Breton]], Dalí répliqua que sa prudence lui conseilla dans son adolescence de devenir autant que possible «''légèrement multimillionnaire''». Plus tard, revenant sur cette affaire, il dit « ''Ce fut André Breton, pour piquer à vif mon attirance pour l'or, qui inventa cet anagramme... Il croyait ainsi mettre au pilori mon admirable nom, mais il n'a rien fait d'autre que composer un talisman... L'Amérique m'a accueilli comme l'enfant prodige et m'a couvert de dollars... L'or m'illumine et les banquiers sont les suprêmes prêtres de la religion Dalínienne.'' »
+==Listing of selected works==
-Si la majeure partie des mortels travaille pour gagner de l’argent, Dalí voulait gagner de l’argent pour pouvoir travailler son art. Pour cela, il décida de s’entourer d’une cohorte de princes et de multimillionnaires qui, en se disputant ses œuvres, firent monter sa cote de façon inimaginable, et depuis lors, il n’a pas cessé de pleuvoir sur Dalí une sorte de pluie divine de Dánae sous forme de diarrhée de dollars inépuisable qui lui permit de faire ce dont il avait envie. De cette façon, avec cette apothéose dalínienne du dollar, il voulut imiter le vieux désir alchimiste de transformer une vile matière en or. Cependant, même si [[André Breton]] avait raison, Dalí avait senti avant tous l'avènement de la culture de masse, et avait su, en virtuose, être un des premiers à en profiter.
+[[Image:Dali on the Rocky Steps.jpg|thumb|right|The [[Philadelphia Museum of Art]] used a surreal entrance display including its steps, for the 2005 Salvador Dalí exhibition]]
-=== Anecdotes ===
+Dalí produced over 1,500 paintings in his career,<ref>{{cite web | title=The Salvador Dalí Online Exhibit | work=MicroVision | url=http://www.daliweb.tampa.fl.us/collection.htm | accessdate=2006-06-13}}</ref> in addition to producing illustrations for books, lithographs, designs for theater sets and costumes, a great number of drawings, dozens of sculptures, and various other projects, including an [[animated cartoon]] for [[The Walt Disney Company|Disney]]. Below is a chronological sample of important and representative work, as well as some notes on what Dalí did in particular years:<ref name=Dali />
-Il fut demandé à Dalí de réaliser une œuvre sur une vitrine d'un magasin new-yorkais afin de lancer une nouvelle marque de parfum appelée "Fracas". Le jour du lancement, Dalí n'avait toujours pas réalisé l’œuvre demandée. À son arrivée, il lança un pavé dans la vitrine du magasin.
+In Carlos Lozano's biography, ''Sex, Surrealism, Dalí, and Me'', produced by the collaboration of [[Clifford Thurlow]], Lozano makes it clear that Dalí never stopped being a surrealist. As Dalí said of himself: "the only difference between me and the surrealists is that I am a surrealist."<ref name=artcyclopedia />
+* 1910 ''[[Landscape Near Figueras]]''
+* 1913 ''Vilabertin''
+* 1916 ''Fiesta in Figueras'' (begun 1914)
+* 1917 ''View of Cadaqués with Shadow of Mount Pani''
+* 1918 ''Crepuscular Old Man'' (begun 1917)
+* 1919 ''Port of Cadaqués (Night)'' (begun 1918) and ''Self-portrait in the Studio''
+* 1920 ''The Artist’s Father at Llane Beach'' and ''View of Portdogué (Port Aluger)''
+* 1921 ''The Garden of Llaner (Cadaqués)'' (begun 1920) and ''Self-portrait''
+* 1922 ''[[Cabaret Scene]]'' and ''Night Walking Dreams''
+* 1923 ''Self Portrait with L'Humanite'' and ''Cubist Self Portrait with La Publicitat''
+* 1924 ''Still Life (Syphon and Bottle of Rum)'' (for [[García Lorca]]) and ''Portrait of [[Luis Buñuel]]''
+* 1925 ''Large Harlequin and Small Bottle of Rum'', and a series of fine portraits of his sister Anna Maria, most notably ''Figure At A Window''
+* 1926 ''Basket of Bread'' and ''Girl from Figueres''
+* 1927 ''Composition With Three Figures (Neo-Cubist Academy)'' and ''Honey is Sweeter Than Blood'' (his first important surrealist work)
+* 1929 {{lang|fr|''[[Un chien andalou]]''}} (''An Andalusian Dog'') film in collaboration with [[Luis Buñuel]], ''The Lugubrious Game'', ''[[The Great Masturbator]]'', ''[[The First Days of Spring]]'', and ''The Profanation of the Host''
+* 1930 {{lang|fr|''[[L'Âge d'Or]]''}} (''The Golden Age'') film in collaboration with [[Luis Buñuel]]
+* 1931 ''[[The Persistence of Memory]]'' (his most famous work, featuring the "melting clocks"), ''The Old Age of William Tell'', and ''William Tell and [[Gradiva]]''
+* 1932 ''The Spectre of Sex Appeal'', ''The Birth of Liquid Desires'', ''Anthropomorphic Bread'', and ''Fried Eggs on the Plate without the Plate''. ''The Invisible Man'' (begun 1929) completed (although not to Dalí's own satisfaction).
+* 1933 ''Retrospective Bust of a Woman'' (mixed media sculpture [[collage]]) and ''Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder'', ''Gala in the window''
+* 1934 ''[[The Ghost of Vermeer of Delft Which Can Be Used As a Table]]'' and ''A Sense of Speed''
+* 1935 ''Archaeological Reminiscence of Millet’s Angelus'' and ''The Face of [[Mae West]]''
+* 1936 ''Autumn Cannibalism'', ''[[Lobster Telephone]]'', ''[[Soft Construction with Boiled Beans (Premonition of Civil War)]]'' and two works titled ''[[Morphological Echo]]'' (the first of which began in 1934).
+* 1937 ''[[Metamorphosis of Narcissus]]'', ''[[Swans Reflecting Elephants]]'', ''[[The Burning Giraffe]]'', ''Sleep'', ''The Enigma of Hitler'', ''[[Mae West Lips Sofa]]'' and ''Cannibalism in Autumn''
+* 1938 ''The Sublime Moment'' and ''Apparition of a Face and Fruit Dish on the Beach''
+* 1939 ''[[Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time]]''
+* 1940 ''The Slave Market with Disappearing Bust of Voltaire,'' ''[[The Face of War]]''
+* 1941 ''Honey is Sweeter than Blood''
+* 1943 ''The Poetry of America'' and ''Geopoliticus Child Watching the Birth of the New Man''
+* 1944 ''Galarina'' and ''[[Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening]]''
+* 1944–1948 ''Hidden Faces'', a novel
+* 1945, ''Basket of Bread—Rather Death Than Shame'' and ''Fountain of Milk Flowing Uselessly on Three Shoes''; This year Dalí collaborated with [[Alfred Hitchcock]] on a dream sequence to the film ''[[Spellbound (1945 film)|Spellbound]]'', to mutual dissatisfaction.
+* 1946 ''The Temptation of St. Anthony''
+* 1948 ''Les Elephants''
+* 1949 ''Leda Atomica'' and ''[[The Madonna of Port Lligat]]''. Dalí returned to Catalonia this year.
+* 1951 ''[[Christ of St. John of the Cross]]'' and ''Exploding Raphaelesque Head''.
+* 1952 ''Galatea of the Spheres''
+* 1954 ''[[The Disintegration of the Persistence of Memory]]'' (begun in 1952), ''[[Crucifixion (Corpus Hypercubus)]]'' and ''[[Young Virgin Auto-Sodomized by the Horns of Her Own Chastity]]''.
+* 1955 ''The Sacrament of the Last Supper'', ''Lonesome Echo'', record album cover for [[Jackie Gleason]]
+* 1956 ''[[Still Life Moving Fast]]'', ''Rinoceronte vestido con puntillas''
+* 1957 ''[[Santiago el Grande]]'' oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton,NB Canada
+* 1958 ''The Rose''
+* 1959 ''[[The Discovery of America by Christopher Columbus]]''.
+* 1960 Dalí began work on the [[Dalí Theatre and Museum|Teatro-Museo Gala Salvador Dalí]] and ''Portrait of [[Juan de Pareja]], the Assistant to [[Velázquez]]''.
+* 1965 Dalí donates a gouache, ink and pencil drawing of the Crucifixion to the [[Rikers Island]] jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981.<ref name="jail">{{cite news | url=http://news.bbc.co.uk/1/hi/world/americas/2812683.stm | title=Dalí picture sprung from jail | publisher=BBC | date=[[March 2]], [[2003]]}}</ref>
-Un jour, à Paris, alors qu’il habitait l’Hôtel Meurice, rue de Rivoli, il convoqua la presse. Dans sa suite se trouvaient préparés des sacs en papier contenant des peintures liquides. Dalí, solennellement, ouvrit la porte-fenêtre, s’avança sur le balcon et jeta les sacs de peinture sur les voitures en stationnement : la peinture « Explosion » venait de naître.
+* 1967 ''[[Tuna Fishing]]''
+* 1969 ''[[Chupa Chups]] logo''
+* 1970 ''[[The Hallucinogenic Toreador]]'', acquired in 1969 by [[A. Reynolds Morse & Eleanor R. Morse]] before it was completed
+* 1972 ''[[La Toile Daligram]]''
+* 1976 ''[[Gala Contemplating the Mediterranean Sea]]''
+* 1977 ''Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun'' ([[Stereoscopy|stereoscopical]] pair of paintings)
+* 1983 Dalí completed his final painting, ''[[The Swallow's Tail]]''.
+* 2003 {{lang|es|''[[Destino]]''}}, an [[animated cartoon]] which was originally a collaboration between Dalí and [[Walt Disney]], is released. Production on {{lang|es|''Destino''}} began in 1945.
-En 1955, Dali accepte de donner une conférence à la Sorbonne. Il crée l'événement en arrivant en rolls-royce jaune et noire, remplie de choux-fleurs qu'il distribue en guise d'autographes !
+The largest collections of Dalí's work are at the [[Teatro Museo|Dalí Theatre and Museum]] in Figueres, Catalonia, Spain, followed by the [[Salvador Dalí Museum, Saint Petersburg|Salvador Dalí Museum]] in [[St. Petersburg, Florida]] which contains the collection of [[A. Reynolds Morse & Eleanor R. Morse]]. It holds over 1,500 works from Dalí. Other particularly significant collections include  the [[Museo Nacional Centro de Arte Reina Sofia|Reina Sofia Museum]] in Madrid, and the Salvador Dalí Gallery in [[Pacific Palisades, California]]. [[Espace Dalí]] in [[Montmartre]], [[Paris]], [[France]], as well as the [[Dalí Universe]] in [[London]], [[England]], contain a large collection of his drawings and sculptures.
-Sur la fin de sa vie, il distribuait à ses visiteurs des feuilles blanches signées de son nom, en leur disant: "Tenez, faites donc du Dalí et enrichissez-vous !"
+The unlikeliest venue for Dalí's work was the [[Rikers Island]] jail in New York City; a sketch of the [[Crucifixion]] he donated to the jail hung in the inmate dining room for 16 years before it was moved to the prison lobby for safekeeping. The drawing was stolen in March 2003 and has not been recovered.<ref name="jail" />
-(Anecdotes tirées en partie du livre "Mon ami Dalí" de [[Pierre Cardin]])
+==References==
+{{reflist|2}}
-=== Dixit ===
+==External links==
+{{Wikiquote}}
+{{Commons|Salvador Dalí}}
+* [http://www.daliparis.com [[Espace Dalí]]]—The unique permanent exhibition in France (Museum & Dalí Fine Art Galleries)
-En préface au ''Journal d'un génie'', [[Michel Déon]] résume l'originalité du peintre :
+===Biographies and news===
-: ''« (...) ce qui est le plus aimable, en Dalí, ce sont ses racines et ses antennes. Racines plongées profondément sous terre où elles vont à la recherche de tout ce que l'homme a pu produire de succulent (selon un de ses trois mots favoris) en quarante siècles de peinture, d'architecture et de sculpture. Antennes dirigées vers l'avenir qu'elles hument, prévoient et comprennent avec une foudroyante rapidité. Il ne sera jamais assez dit que Dalí est un esprit d'une curiosité insatiable.  »''
+* [http://www.rotten.com/library/bio/artists/salvador-dali/ Biography and works of Salvador Dalí]—From the [[Rotten Library]]
+* [http://www.smh.com.au/articles/2003/07/04/1057179156682.html Dalí's surreal wind-powered organ lacks only a rhinoceros]
+* [http://uk.portalmundos.com/mundoarte/biography/salvadordali.htm MundoArte: Biography of Salvador Dalí]
+* [http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=260 Salvador Dalí: a Genius?]—Article from Bohème Magazine
+* [http://www.ubu.com/sound/dali.html UbuWeb: Salvador Dalí]—Interview and bank advertisement.
+* [http://tierra.free-people.net/artes/paintings-salvador-dali.php Biography and paintings of Salvador Dalí]
+* [http://www.ina.fr/archivespourtous/index.php?full=Salvador+Dal%ED&action=ft Salvador Dalí in the INA Archives] — A collection of interviews and footage of Dalí in the French television
-[[Jean Dutourd]], de l'[[Académie française]] a écrit :
+===Other links===
-: « ''Salvador Dalí, qui était très intelligent, avait compris plusieurs choses qui, généralement échappent aux artistes, la première étant que le talent (ou le génie) est une baraque foraine. Pour attirer les clients, il faut bonimenter, avoir la langue bien pendue, faire des pitreries et des cabrioles sur une estrade. C'est en quoi Dalí, dès ses débuts, excella. Il considérait qu'il était le plus grand peintre du {{XXe siècle}}, c’est-à-dire un artiste classique ayant eu la malchance de tomber dans une basse époque de son art. Les Trissotin de l'intelligentsia occidentale et les bourgeois à leur suite faisaient la loi, c'est-à-dire l'opinion.''
+* [http://www.firstthings.com/onthesquare/?p=922 Article on Dalí's religious faith]
-: ''Il y a deux façons de se concilier ces gens-là, dont dépendent les réputations ; la première est d'être aussi grave qu'eux, aussi imbu de sa dignité. Ils reconnaissent aussitôt un membre de la tribu et savent le lui montrer. L'inconvénient est que pour réussir une telle attitude il faut être soi-même un peu un imbécile, (...) Il ne lui restait que l'autre issue qui est la provocation, c'est-à-dire les extravagances et l'imprévu en pensée autant qu'en paroles, la sincérité brutale, le goût de la facétie, l'iconoclastie à l'égard de tout ce qui est à la mode et de ce fait est intouchable.'' »
+* [http://www.dalinet.com/gallery/dali.html The Salvador Dalí Society extensive gallery collection]
-<!--[[Image:Dalí museum.jpg|thumb|right|[[Teatre-Museu Gala Salvador Dalí]] à [[Figueres]]]]-->
+* [http://www.daliphoto.com The Salvador Dalí photo library 60.000 photos]
-L'historien de l'art [[Michael Peppiatt]] écrit à son propos :
+* [http://tesla.liketelevision.com/liketelevision/tuner.php?channel=1099&format=movie&theme=guide Watch Un Chien Andalou] at LikeTelevision
-: « ''Dalí est passé de la brillance subversive de sa jeunesse à une vacuité grandissante et à un exhibitionnisme rémunérateur. ''»
+* [http://www.salvador-dali.org/en_index.html Gala-Salvador Dalí Foundation English language site]
+* [http://www.salvadordalimuseum.org/index2.html St. Petersburg Dalí Museum]
-[[Andrew Strauss]], expert spécialiste du surréalisme chez Sotheby's, fait remarquer :
+===Exhibitions===
-: «'' Dalí a travaillé à la construction de sa popularité à l'échelle mondiale. Il a précédé Andy Warhol dans cette stratégie du culte de l'artiste star. ''»
+* [http://www.tate.org.uk/modern/exhibitions/daliandfilm/default.shtm Dalí & Film - Tate Modern, London]
-Thérèse Lacroix, l'épouse et collaboratrice de [[Marc Lacroix]] qui durant dix ans rendra visite à de nombreuses reprise à Dalí et à Gala, observa :
+{{featured article}}
-: «'' Il était impressionnant par son regard et son port de tête. Il était altier mais amusant, ne se prenait pas au sérieux. ''»
-[[Image:Gare perpignan.jpg|thumbnail|300px|right|La [[gare]] de [[Perpignan]], "centre cosmique du monde" selon Dalí en parlant de sa facade]]
+{{Persondata
+|NAME=Dalí, Salvador
+|ALTERNATIVE NAMES=Dalí, Salvador Felip Jacint, Domènech; Dalí, Salvador Felipe Jacinto, Domènech
+|SHORT DESCRIPTION=20th century Catalan surrealist artist
+|DATE OF BIRTH=[[May 11]] [[1904]]
+|PLACE OF BIRTH=Figueres, Catalonia, Spain
+|DATE OF DEATH=[[January 23]] [[1989]]
+|PLACE OF DEATH=Figueres, Catalonia, Spain
+}}
+{{DEFAULTSORT:Dali, Salvador}}
+[[Category:Salvador Dalí| ]]
+[[Category:Modern artists]]
+[[Category:Modern painters]]
+[[Category:Catalan artists]]
+[[Category:Catalan painters]]
+[[Category:Spanish painters]]
+[[Category:Spanish sculptors]]
+[[Category:Spanish printmakers]]
+[[Category:Spanish Roman Catholics]]
+[[Category:Surrealist artists]]
+[[Category:People with Parkinson's disease]]
+[[Category:1904 births]]
+[[Category:1989 deaths]]
+[[Category:Légion d'honneur recipients]]
-=== Quelques avis de Dalí ===
+{{Link FA|af}}
-* «''[[Le Corbusier]] est masochiste et protestant [...] l'inventeur de l'architecture d'autopunition''».
-* «''de tous les élèves de [[Gustave Moreau]], le meilleur est celui qui les enseigne''».
-* Picasso est responsable de la «''laideur généralisée de l'art contemporain''».
-* Matisse est un «''peintre d'algues tout juste bon à favoriser la digestion bourgeoise''».
-== Œuvre ==
-* ''Oui. La révolution paranoïaque-critique, l'archangélisme scientifique'', Salvador Dalí, [[Éditions Denoël]], [[2004]], ISBN 2-207-25621-9
-*''La  Vie secrète de Salvador Dalí. Suis-je un génie?'', Edition critique établie par Frédérique Joseph-Lowery à partir des manuscrits de Gala et de Salvador Dalí, éd. L'Âge d'homme, octobre 2006. Préface de Jack Spector. {{ISBN|2-8251-3643-3}}<ref>[http://www.suginternational.org/mynewsite/texte%20de%20pub%20pour%20presse.htm suginternational.org]</ref>
-* ''La Vie secrète de Salvador Dalí'' écrit par Salvador Dalí à l'âge de vingt-neuf ans, [[Gallimard]], [[2002]] ISBN 2-07076-374-9
-* ''Les Cocus de viel art moderne'' de Salvador Dalí - éd. Grasset, collection « Les Cahiers Rouges » - 116 pages
-* ''Pensées et anecdotes'', Salvador Dalí, [[Le Cherche-Midi Éditeur]], 2004, {{ISBN|2-86274-372-0}}
-== Annexes ==
-=== Bibliographie ===
-* Amanda Lear, ''Mon Dali'', éd. Michel Lafon, 2004
-* Jean-Christophe Argillet, ''Le Siècle de Dalí'', éd. Timée
-* [[Robert Descharnes]] et Nicolas Descharnes, ''Salvador Dalí'',
-*  Michel Nuridsany, ''Dalí'', éd. Flammarion, 2004
-* Robert Descharnes et Gilles Néret, ''Salvador Dalí 1904-1989'', Taschen,
-** 1998, {{ISBN|3-8228-7335-7}}
-** 2004, {{ISBN|3-8228-3180-8}}
-** 2006, {{ISBN|3-8228-5007-1}}
-* Robert Descharnes et Gilles Néret, ''Dalí : l'œuvre peint Coffret 2 volumes. Tome 1 : 1904-1946. Tome 2 : 1946-1989.'', Taschen,
-** 2001, {{ISBN|3-8228-1208-0}}
-** 2004, {{ISBN|3-8228-3554-4}}
-* Robert Descharnes et Nicolas Descharnes, ''Dalí. Le dur et le mou, Sortilège et magie des formes Sculptures et Objets'', Eccart, 2003, {{ISBN|2-9521023-0-9}}
-* Robert Descharnes, Éditions Ramsay, ''Dalí. L'héritage infernal'', 2002, {{ISBN|2-84114-627-8}}
-* Gilles Néret, ''Dalí'', Taschen, 2000, {{ISBN|3-8228-5947-8}}
-* Jean-Gabriel Jonin, ''Jours intimes chez Dali'', Rafael de Surtis-Editinter, 2006.
-* [http://www.suginternational.org/mynewsite/Lire%20Dali.htm''Lire Dalí''], La revue des Sciences humaines, collection d'essais réunis par Frédérique Joseph-Lowery, n. 262,
-* [[Catherine Millet]], ''Dalí et moi''. livre sur la vie sexuelle de Dalí.
-* ''Dalí, l'univers fantasmagorique'' - Musée Dalí, Espace Montmartre
-=== Articles connexes ===
-* [[Peindre le Siècle 101 Portraits majeurs 1900-2000]]
-* Le Dali Lapis-lazuli [http://www.lapix.name/index.php?option=com_content&task=view&id=14&Itemid=1]
-* [[Espace Salvador Dali]] - L'unique musée français intégralement consacré à S.Dalí à Paris Montmartre
-=== Liens externes ===
-{{Commons|Salvador Dali|Salvador Dali}}
-{{trop de liens}}
-* [http://www.daliphoto.com La phototheque DALI, 60.000 cliches sur Dali, l'oeuvre et l'homme]
-* [http://www.descharnes.com Les expert internationaux, Robert et Nicolas Descharnes]
-* [http://www.daliparis.com ESPACE DALI - Le musée entièrement consacré à S.Dalí à Paris]
-* [http://www.boijmans.nl/smartsite125163.dws?sp=1 Musée Boijmans, exposition « Tout Dalí »]
-* [http://www.malarze.walhalla.pl/galeria.php5?art=13 Art Gallery - Salvador Dalí]
-* [http://www.photosmarval.org/peintres/surrealisme/salvador-dali-01.shtml Quelques tableaux de Salvador Dalí]
-* [http://www.vide.fr/vide/artysci/A-D-196-9-1-FR-DE/Dali-Salvador.html Tableaux - Dali]
-* [http://www.clio.fr/BIBLIOTHEQUE/dali_ou_le_dur_desir_de_divaguer.asp Dali ou le dur désir de divaguer] par Marie-Annick Sékaly, Directrice du service culturel de Clio.
-* [http://www.clio.fr/BIBLIOTHEQUE/salvador_dali_un_catalan_universel.asp Salvador Dali, un catalan universel] par Eliseo Trenc, Professeur à l'université de Reims.
-* [http://perso.orange.fr/michel.gibergues/catalogne/index_page0027.htm Un résumé sur la vie de Dali]
-* [http://www.ina.fr/archivespourtous/index.php?vue=corpus&code=C0524208238&cs_page=7&cs_order=0&total_notices=56&code=C0524208238 Archives de l'INA sur Dali]
-* [http://www.universdali.com/ Univers Dali] Hommage à Salvador Dali, au surréalisme, biographie de Dali, analyses et concepts détaillés des tableaux du maître du surréalisme.
-* {{fr}} [http://www.allposters.fr/link/redirect.asp?item=96919&lang=2 Voir Les éléphants de Dali]
-* {{en}} [http://www.artcyclopedia.com/artists/dali_salvador.html Salvador Dalí dans Artcyclopedia]
-* [http://www.repro-tableaux.com/a/salvador-dali/&pid=Wikipedia Consultation gratuite de 34 tableaux de Salvador Dalí]
-* [http://blog.legardemots.fr/post/2006/06/19/660-labyrinthe Les pinceaux de Salvador Dalí à Port Lligat (photographie)]
-* [http://www.maison-de-rabaine.eu/spip.php?article384&var_mode=calcul Salvador Dali et le cadavre du frère mort, par Serge Bédère, psychanalyste]
-=== Expositions ===
-* [http://www.suginternational.org/frederique/main.html Colloque ''Dalí. Sur les traces d'Eros'', au Centre Culturel International de Cerisy-la-Salle du 13-20 Août 2007]
-* [http://www.artelio.org/art.php3?id_article=985 Salvador Dali, l'exposition du centenaire]
-=== Notes et références ===
-{{Références|colonnes=2}}
-{{DEFAULTSORT:Dali, Salvador}}
-[[Catégorie:Peintre]]
-[[Catégorie:Peintre espagnol]]
-[[Catégorie:Peintre surréaliste]]
-[[Catégorie:Surréalisme]]
-[[Catégorie:Pseudonyme]]
-[[Catégorie:Naissance en 1904]]
-[[Catégorie:Décès en 1989]]
-{{multi bandeau|portail peinture|Portail Pays catalans}}
-{{Lien AdQ|af}}
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 [[zh:萨尔瓦多·达利]]
-[[zh-min-nan:Salvador Dalí]]
-[[zh-yue:薩爾瓦多·達利]]