Salvador Dalí
Salvador Felip Jacint Dalí Domènech (
Catalan) (
May 11,
1904 –
January 23,
1989), written in
Spanish as
Salvador Felipe Jacinto Dalí Domènech and known popularly as
Salvador Dalí, was a
Spanish-
Catalan who became one of the most important
painters of the 20th century. A skilled draftsman, he is best known for his
surrealist work identified by its striking, bizarre,
dreamlike images. His
painterly skills were influenced by the
Renaissance masters.
[Dali, Salvador. (2000) Dali: 16 Art Stickers, Courier Dover Publications. ISBN 0-486-41074-9.] His best known work is
The Persistence of Memory, completed in 1931. In addition to paintings, his artistic repertoire included film, sculpture, and an
Academy Award-winning short cartoon which he collaborated on with
Walt Disney released posthumously by
The Walt Disney Company in 2003.
An artist of great imagination, 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 overshadowed his artwork in public attention.
[Saladyga, Stephen Francis. "The Mindset of Salvador Dalí". lamplighter (Niagra University). Vol. 1 No. 3, Summer 2006. Retrieved July 22, 2006.]Dalí was born on
May 11,
1904, in the town of
Figueres, in the
Empordà region close to the
French border in
Catalonia,
Spain. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary.
[Llongueras, Lluís. (2004) Dalí, Ediciones B - Mexico. ISBN 84-666-1343-9.] Dalí's father, a strict disciplinarian, was tempered by his wife, Felipa Domenech Ferres, who encouraged her son's drawing.
[Rojas, Carlos. (1993) Salvador Dali, Or the Art of Spitting on Your Mother's Portrait, Penn State Press. ISBN 0-271-00842-3.] Dalí had an older brother, also named Salvador, who died prior to the artist's birth.
[Davies, Betty. (1998) Shadows in the Sun, Psychology Press (UK). ISBN 0-87630-911-2.] When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother reincarnate.
[Salvador Dalí. SINA.com. Retrieved on July 31, 2006.] He also had a sister, Ana María, who was three years younger than him.
Dalí attended
drawing school, where he first received formal art training. In 1916, Dalí discovered modern painting on a summer vacation to
Cadaqués (in the nearby
Costa Brava) with the family of
Ramon Pichot, a local artist who made regular trips to
Paris.
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 1921, Dalí's mother died of cancer when he was only 16 years old. After her death, Dalí's father married the sister of his deceased wife; Dalí somewhat resented this marriage.
In 1922, Dalí moved into the
Residencia de estudiantes (Students' Residence) in
Madrid and there studied at the San Fernando School of Fine Arts. Dalí already drew attention as an eccentric, wearing long hair and sideburns, coat, stockings and knee breeches in the fashion style of a century earlier; his flamboyant
moustache, which became iconic of him, was influenced by that of 17th century Spanish master painter
Diego Velázquez. But his paintings, where he experimented with
Cubism, got 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 San Fernando School of Fine Arts, he became close friends with the
poet Federico García Lorca, with whom he might have become romantically involved,
[Bosquet, Alain, Conversations with Dali, 1969. p. 19. ] and
filmmaker Luis Buñuel. Dalí was expelled from the academy in 1926 shortly before his final exams when he stated that no one on the faculty was competent enough to examine him.
[Salvador Dalí: Olga's Gallery. Retrieved on July 22, 2006.]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 groped toward developing his own style.
Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s, however. 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,
[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].] 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 collaborated with Buñuel in 1929 on the short
film Un chien andalou (English:
An Andalusian Dog) and met his muse, inspiration, and future wife
Gala[Shelley, Landry. "Dalí Wows Crowd in Philadelphia". Unbound (The College of New Jersey) Spring 2005. Retrieved on July 22, 2006.], born Helena Dmitrievna Deluvina Diakonova, a
Russian
immigrant eleven years his senior who was then married to the
surrealist poet
Paul Éluard. He was mainly responsible for helping Buñuel write the script for the film, but Dalí later claimed to have had a greater creative force in the filming of the project. Contemporary accounts, however, do not substantiate this claim.
[Koller, Michael. Un Chien Andalou. senses of cinema January 2001. Retrieved on July 26, 2006.] 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.
In 1931, Dalí painted his most famous work,
The Persistence of Memory. 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, including the ants and fly devouring the other watches.
Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They remarried in a
Roman Catholic ceremony in 1958. The artist, as implied in the aforementioned rumored romantic relationship with poet Federico García Lorca, may have been
bisexual.
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.
[Jackaman, Rob. (1989) Course of English Surrealist Poetry Since the 1930s, Edwin Mellen Press. ISBN 0-88946-932-6.] When
Francisco Franco came to power in the aftermath of the
Spanish Civil War, Dalí came into conflict with his fellow surrealists over political beliefs and was officially expelled from the predominantly
Marxist group.
Dalí's response to his expulsion was "Surrealism is me."
André Breton coined the
anagram "Avida Dollars" (for
Salvador Dalí), 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 were dead. 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. As
World War II started in Europe, Dalí and Gala moved to the
United States in 1940, where they lived for eight years. In 1942, he published his entertaining autobiography,
The Secret Life of Salvador Dalí.
Dalí spent his remaining years back in his beloved Catalonia starting in 1949. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and many other artists. As such, probably 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 Dali,
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.
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 and was among the first artists to employ
holography in an artistic manner. Several of his works incorporate
optical illusions. In his later years, young artists like
Andy Warhol proclaimed Dalí an important influence on
pop art. 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).
[Elliott King in Dawn Ades (ed.), Dalí, Bompiani Arte, Milan, 2004, p. 456.] Dalí was also fascinated by
DNA and the
hypercube; the latter, a 4-dimensional cube, is featured in the painting
Crucifixion (Corpus Hypercubus).
|
Crucifixion (Corpus Hypercubus) (1954) |
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. He found time, however, to design the
Chupa Chups logo in 1969.
In 1982, King
Juan Carlos of Spain bestowed on Dalí the title
Marquis of
Pubol, for which Dalí later paid him back 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
Pubol which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom
[ "Dali Resting at Castle After Injury in Fire". The New York Times. September 1, 1984. Retrieved July 22, 2006] under unclear circumstances—possibly a suicide attempt by Dalí, possibly simple negligence by his staff.
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.
|
The Temptation of St. Anthony (1946) was the first painting that included Dalí's symbolic elephant. |
There have been allegations that his guardians forced Dalí to sign blank canvases that would later (even after his death) be used and sold as originals.
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.
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.
[Salvador Dalí, La Conquête de l'irrationnel (Paris: Éditions surréalistes, 1935), p. 25.] 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.
[Salvador Dalí, The Secret Life of Salvador Dalí (New York: Dial Press, 1942), p. 317.]The elephant is also a recurring image in Dalí's works, appearing first and very prominently in his 1946 work
The Temptation of St. Anthony. The elephants, inspired by Gian Lorenzo Bernini's sculpture in Rome of an elephant carrying an obelisk,
[Michael Taylor in Dawn Ades (ed.), Dalí (Milan: Bompiani, 2004), p. 342] are portrayed "with long, multi-jointed, almost invisible legs of desire"
[Dali Universe Collection. County Hall Gallery. Retrieved on July 28, 2006.] 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 weightlessness. "The elephant is a distortion in space," one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure."
The egg is another common Daliesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love
["Salvador Dali's symbolism". County Hall Gallery. Retrieved on July 28, 2006]; 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 grasshoppers are a symbol of waste and fear.
Dalí was a versatile artist, not limiting himself only to painting in his artistic endeavors. In fact, some of his more popular artistic works include 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.
[ Lobster telephone. National Gallery of Australia. Retrieved on August 4, 2006.] "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."
[ Tate Collection | Lobster Telephone by Salvador Dalí. Tate Online. Retrieved on August 4, 2006.] 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.
The wood and satin
Mae West Lips Sofa was shaped after the lips of actress
Mae West, who Dalí apparently found fascinating.
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.
In theatre, Dalí is remembered for constructing the scenery for García Lorca's 1927 romantic play
Mariana Pineda.
[Federico García Lorca. Pegásos. Retrieved on August 8, 2006.] 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.
[Dali Rotterdam Museum Boijmans. Paris Contemporary Designs. Retrieved on August 8, 2006.] Bacchanale was followed by set designs for
Labyrinth in 1941 and
The Three-Cornered Hat in 1949.
[Past Exhibitions. Haggerty Museum of Art. Retrieved August 8, 2006.]Dalí also delved into the realms of
filmmaking, most notably playing large roles in the production of
Un Chien Andalou, a 17-minute French art film co-written with
Luis Buñuel which is widely remembered for the graphic scene of the slicing open of a human
eyeball with a
razor. Dalí's other major film work is the Disney cartoon production
Destino; clocking in at a mere six minutes, it contains dream-like images of strange figures flying and walking about.
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."
Photographers with whom he collaborated include
Man Ray,
Brassaï,
Cecil Beaton, and
Philippe Halsman. With Man Ray and Brassaï, Dalí photographed nature, while 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."
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."
[Dali: Explorations into the domain of science. The Triangle Online. Retrieved August 8, 2006.] 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.
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 politics of Salvador Dalí played a significant role in his emergence as an artist. He has sometimes been portrayed as a
fascist supporter.
[Navarro, Vicente, Ph.D. "The Jackboot of Dada: Salvador Dalí, Fascist". Counterpunch. December 6, 2003. Retrieved July 22, 2006.] The reality is probably somewhat more complex; in any event, he was probably not an
anti-semite, given that he was a friendly acquaintance of famed architect and designer
Paul Laszlo, who was ethnically Jewish.
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. When he fell into the circle of mostly
Marxist surrealists who denounced as enemies the
monarchists on one hand and the
anarchists on the other, Dalí explained to them that he personally was an
anarcho-monarchist.
With the outbreak of the
Spanish Civil War, Dalí fled from fighting and refused to align himself with any group. After his return to
Catalonia after World War II, Dalí became closer to the
Franco regime. Some of Dalí's statements supported the repression enacted under Franco's fascist regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces." Dalí sent telegrams to Franco, "praising him for signing death warrants for political prisoners."
Dalí even painted a portrait of Franco's grand-daughter. 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
sceptre as part of his regalia. The Romanian daily newspaper
Scînteia published it, without suspecting its mocking aspect. Dalí's eccentricities were tolerated by the Franco regime, since not many world-famous artists would accept living in Spain. 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.
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." Everything, including his support for Franco and telegrams to Ceauşescu, must be seen in this light. Born a Catholic, he would say: "I practice but do not believe." He described himself as "a liar who always tells the truth." While many artists and writers may become eccentric with the growth of their fame, Dalí's eccentricity pervaded his life throughout his career. He is famous for having said "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí."
Dalí produced over 1,500 paintings in his career,
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:
* 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 Great Masturbator and
The First Days of Spring* 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, and
Mae West Lips Sofa* 1938
The Sublime Moment and
Apparition of a Face and Fruit Dish on the Beach* 1940
The Face of War* 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 Bumblebee 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* 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.
* 1954
Corpus Hypercubus Crucifixion,
Young Virgin Auto-Sodomized by the Horns of Her Own Chastity and
The Disintegration of the Persistence of Memory (begun in 1952).
* 1955
The Sacrament of the Last Supper,
Lonesome Echo, record album cover for
Jackie Gleason* 1956
Still Life Moving Fast,
Rinoceronte vestido con puntillas* 1958
The Rose* 1959
The Discovery of America by Christopher Columbus.
* 1960 Dalí began work on the
Teatro-Museo Gala Salvador Dalí* 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.
* 1967
Tuna Fishing* 1969
Chupa Chups logo* 1970
The Hallucinogenic Toreador * 1972
La Toile Daligram* 1976
Gala Contemplating the 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, and the Salvador Dalí Gallery in
Pacific Palisades, California.
Espace Salvador Dalí on
Montmartre in
Paris,
France contains a large collection of his drawings and smaller 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 by 4 prison guards and has not been recovered.
*
Edgar Froese*
Ernst Fuchs*
H. R. Giger*
Mark Ryden*
Elsa Schiaparelli
Galleries
*
Dali-Gallery.com – Over 1500 high quality paintings, drawings, watercolors and objects
*
Gallery (uffs.net)*
Olga's Gallery: Salvador Dalí*
Virtual Dalí – Gallery of Salvador Dalí's artwork (several hundred images); Uses
Macromedia FlashBiographies and news
*
Biography and works of Salvador Dali – From the
Rotten Library*
Dalí news in English, Spanish, French, Italian, Catalan*
Dalí's surreal wind-powered organ lacks only a rhinoceros*
Documentary on Google Video about Salvador Dalí (runtime 75 minutes)*
Fantasyarts.net: Salvador Dalí – Historical site
*
MundoArte: Biography of Salvador Dalí*
Salvador Dalí: a Genius? – Article from Bohème Magazine
*
UbuWeb: Salvador Dalí – Interview and bank advertisement.
Other links
*
Gala-Salvador Dalí Foundation English language site*
Salvador Dalí: a Migraineur?*
St. Petersburg Dalí Museum{{Persondata
NAME=Salvador Dalí | ALTERNATIVE NAMES=Salvador Felip Jacint Dalí Domènech, Salvador Felipe Jacinto Dalí 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
| 
