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发信人: jupiter (流浪的星), 信区: Art
标题: 萨尔瓦多·达利 Salvador Dali
发信站: BBS 荔园晨风站 (Fri Jul 21 21:55:00 2000), 转信

萨尔瓦多·达利 Salvador Dali
(1904-1989)

Salvador Dali (1904-1989)Spanish painter. Born into a middle-class
family, he studied at the Academy of Fine Arts in Madrid, where he
mastered academic techniques. Dali also pursued his personal interest in
Cubism and Futurism and was expelled from the academy for
indiscipline in 1923. He formed friendships with Lorca and Burel, read
Freud with enthusiasm and held his first one-man show in Barcelona
(1925), where he exhibited a number of seascapes. He wrote the
screenplay for Burel's Un Chien Andalou (produced in 1928), largely
thanks to which he was adopted by the Surrealists. In Paris he met
Picasso and Breton, and his involvement from 1929 onwards, his
effervescent activity, his flair for getting publicity through scandal
and his vivacity which counterbalanced the political difficulties
encountered by the group, made him a particularly welcome addition

"Over the next few years Dali devoted himself with passionate
intensity to developing his method, which he described as
'paranoiac-critical', a 'spontaneous method of irrational knowledge
based on the critical and systematic objectivation of delirious
associations and interpretations'. It enabled him to demonstrate his
personal obsessions and fantasies by uncovering and meticulously
fashioning hidden forms within pre-existing ones, either randomly
selected (postcards, beach scenes, photographic enlargements) or of an
accepted artistic canon (canvases by Millet, for example). It was at
this period that he was producing works like The Lugubrious Game (1929),
The Persistence of Memory (1931) and Surrealist Objects, Gauges of
Instantaneous Memory (1932). Flaccid shapes, anamorphoses and
double-sided figures producing a trompe-effect combine in these works to
create an extraordinary universe where the erotic and the
scatological jostle with a fascination for decay - a universe that is
reflected in his other works of this period, including his symbolic
objects and poems (La Femme visible, 1930; L'Amour et la moire, 1931) as
well as the screenplay for L'Age d'Or (1930).

"It soon became apparent, however, that there was an inherent
contradiction in Dali's approach between what he himself described as
'critical paranoia' - which lent itself to systematic interpretation -
and the element of automatism upon which his method depended. Breton
soon had misgivings about Dali's monsters which only lend themselves
to a limited, univocal reading. Dali's extreme statements on political
matters, in particular his fascination for Hitler, struck a false note
in the context of the Surrealist ethic and his relations with the rest
of the group became increasingly strained after 1934. The break
finally came when the painter declared his support for Franco in 1939.
And yet he could boast that he had the backing of Freud himself, who
declared in 1938 that Dali was the only interesting case in a movement
whose aims he confessed not to understand. Moreover, in the eyes of
the public he was, increasingly as time went by, the Surrealist par
excellence, and he did his utmost to maintain, by way of excessive
exhibitionism in every area, this enviable reputation.

"In 1936, Dal?returned to a classical manner of painting, switching
haphazardly between Italian, Spanish and pompier styles. From 1939 to
1948, he lived in the United States, cultivating his persona as a genial
eccentric, and earning from Breton the nickname Avida Dollars (an
anagram of his name) in 1940. In Spain once more (at Port Lligat), he
provided a constant source of interest for the gossip columns, which
described the parties he threw, his carefully orchestrated
'eccentricity' and all the pomp and ceremony of his church wedding in
1958 to Gala (Guard's first wife), whom he had first met in 1929 and who
was to remain the only woman in his life, his muse, his model and his
most effective agent. If he declared that Meissonier was a better
painter than Picasso, that Perpignan railway station was the centre of
the world, or that Francoism had saved Spain, these were precisely the
sort of statements that people expected of him. His painting, in the
meantime, while technically brilliant, was based on ideas that were
not perhaps as bold and new as they seemed (Christ of Saint John of
the Cross, 1951, for example, or the Crucifixion of 1954) - more a
series of confidence tricks designed to convince the public that Dali
was borrowing from nuclear physics or 'inventing' the anaglyph relief. In 1965,
he turned
his hand to sculpture, contenting himself with repeating themes from his
paintings: a Venus equipped with cupboard drawers, elephants with
spiders' legs, soft watches, etc., worked in bronze or crystal. The
purpose of the post-war lithographs was principally financial: their
uncontrolled print runs and more or less authentic signatures brought
discredit on the artistic mass market of the 1960s. Such 'scandals',
however, like the denunciation of fake Dali in the 1970s, served to keep
a myth alive - a myth that has proved remarkably durable if the success
of both the Dali museum at Figueras, which the painter himself set up
in 1974, and the major exhibitions periodically held in celebration of
his 'genius' is anything to go by."

- Text from "ART20, The Thames and Hudson Multimedia Dictionary of
Modern Art"

事实是当我绘画时连我自己也不明白我的画的含义，
但是这并不意味它们没有任何含义。
相反，它们的含义是如此深奥、复杂、有连贯性和不又自主性，
以至不能对之作简单的直觉逻辑分析。

——摘自《萨尔瓦多·达利的内心生活》

The only difference
between me
and a madman
is that
I am not mad

- Salvador Dali

--

啊，多美呀，请停留一会。

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