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The Bleeding Roses (1930), ABANCA Art collection, A Coruña Gala-Salvador Dalí Foundation; Chocolate (1930) Consequences: Dalí, Gala Eluard, Valentine Hugo, André Breton (1930) The Feeling of Becoming (1930) Gala-Salvador Dalí Foundation; Fish Man (1930), Meadows Museum, SMU, Dallas, Texas; The Font (1930) The Dali Museum, St Petersburg ...
Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol [b] [a] gcYC (11 May 1904 – 23 January 1989), known as Salvador Dalí (/ ˈ d ɑː l i, d ɑː ˈ l iː / DAH-lee, dah-LEE; [2] Catalan: [səlβəˈðo ðəˈli]; Spanish: [salβaˈðoɾ ðaˈli]), [c] was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and ...
The Seven Lively Arts was a series of seven paintings created by the Spanish surrealist painter Salvador Dalí in 1944 and, after they were lost in a fire in 1956, recreated in an updated form by Dalí in 1957. The paintings depicted the seven arts of dancing, opera, ballet, music, cinema, radio/television and theatre.
[2]: 1 Salvador Dalí. The heart of the museum is the town's theatre that Dalí knew as a child. It was where one of the first public exhibitions of young Dalí's art was shown. The old theatre was burned during the Spanish Civil War and remained in a state of ruin. In 1960, Dalí and the mayor of Figueres decided to rebuild it as a museum ...
It combines a string of words that decodes the meaning of the work. The first word in the string is Gala, Dalí‘s wife and muse. The word ―"cid" refers to a Spanish folklore hero, and Allah is the Arabic word for God. The last word in the string is Dalí's spelling of the full scientific name for DNA—desoxiribunucleicacid."
On close observation of the original painting, five different images of Dalí's wife Gala appear in Christ's right knee, and five different images of Dalí himself appear in the left knee; the most prominent two being Gala's back/neck/back of head with right arm extended upward, and Dalí's own face complete with his trademark upswept mustache.
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Leda looks as if she is trying to touch the back of the swan's head, but doesn't do it. Dalí himself described the painting in the following way: " Dalí shows us the hierarchized libidinous emotion, suspended and as though hanging in midair, in accordance with the modern 'nothing touches' theory of intra-atomic physics.