Salvadore Darli
Spanish painter. Born into a middle-class family, he studied at the Academy of Fine Arts in Madrid, where he master academic techniques. Dalà also pursued his personal elicit in Cubisim and Futurisim and was expelled from the academy for indiscipline in 1923. He form friendships with Lorca and Buñuel and held his first one-man show in Barcelona (1925), where he exhibited a number of seascapes.In Paris he met Picasso and Breton.
Over the next few age Dalà devoted himself with passionate intensity to developing his mode, which he depict as paranoiac-critical, a spontaneous method of irrational familiarity based on the critical and systematic objectivation of delirious associations and interpretations. It enabled him to endorse his personal obsessions and fantasies by uncovering and meticulously fashioning occult forms within pre-existing ones, either randomly selected (postcards, beach scenes, photographic enlargements) or of an accepted artistic canon. It was at this period that he was producing flora like The Lugubrious Game (1929), The Persistence of warehousing (1931) and Surrealist Objects, Gauges of Instantaneous Memory (1932).
Flaccid shapes, anamorphoses and double-sided figures combine in these works to create an extraordinary universe where the erotic and the scatological work 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; LAmour et la mémoire, 1931) as well as the screenplay for LAge dOr (1930).
It soon became apparent, however, that there was an inherent contradiction in terms in DalÃs 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 DalÃs monsters which only lend themselves to a limited, univocal reading. DalÃs extreme statements on political matters, in...
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