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Gala Dalí (born Elena Ivanovna Diakonova, Елена Ивановна Дьяконова; 7 September [O.S. 26 August] 1894 – 10 June 1982), usually known simply as Gala, was the wife of poet Paul Éluard and later of artist Salvador Dalí, who were both prominent in surrealism. She also inspired many other writers and artists.
It depicts Gala Dalí, Salvador Dalí's wife and muse, as pieced together through a series of spheres arranged in a continuous array. The name Galatea refers to a sea nymph of Classical mythology renowned for her virtue, and may also refer to the statue beloved by its creator, Pygmalion .
Gala's pose amid clouds, water, and rocks appeared in Dalí's earlier work St. Helen of Port Lligat (1956). [11] The cross that Jesus holds in The Ecumenical Council is the lateral central point in the composition (Dalí often included geometric designs and symbolism on canvases in his later works), to represent the central mystery of the ...
On the bottom left of the painting, Dalí painted his wife Gala as Mary Magdalene looking up at Jesus. Dalí thought of her as the "perfect union of the development of the hypercubic octahedron on the human level of the cube". He used her as a model because "the most noble beings were painted by Velázquez and Zurbarán. [He] only [approaches ...
Dalí Seen from the Back Painting Gala from the Back Eternalised by Six Virtual Corneas Provisionally Reflected by Six Real Mirrors is an oil painting on canvas executed in 1972–73 by the Spanish artist Salvador Dalí. [1] It is in the permanent collection of Dalí Theatre and Museum in Figueres, Spain. [2]
In the upper left section we observe a representational portrait of Dali's wife, Gala, to whom the artist has dedicated this piece. Her serious, rigid expression could be interpreted as a pictorial representation of her deep-seated dislike for bullfighting. In the bottom left section there is a pattern of multicolored circles.
Leda is a nude frontal portrait of Dalí's wife, Gala, who is seated on a pedestal with a swan suspended behind and to her left. Different objects such as a book, a set square, two stepping stools and an egg float around the main figure.
The painting purportedly represents Dalí's anxiety over the situation, and what the future would hold for him. The painting also mythologizes Dali's relationship with his father. [1] The painted work consists primarily of seven large pebbles, each with a different symbol that Dalí believed would come to pass as a result of the affair.