Salvador Dalí: Difference between revisions

Content deleted Content added

Revision as of 18:43, 7 February 2010 view source FoxBot (talk \| contribs) 56,039 edits m robot Modifying: ml:സാൽവദോർ ദാലി ← Previous edit		Revision as of 14:44, 15 February 2010 view source Tjmayerinsf (talk \| contribs) Pending changes reviewers 58,637 edits m →‎1929 through World War II Next edit →
Line 68: While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist [[André Breton]] accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon," but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention."<ref>Robin Adèle Greeley, ''Surrealism and the Spanish Civil War'', Yale University Press, 2006, p81. ISBN 0300112955</ref> Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism.{{Citation needed\|date=April 2009}} Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group.<ref name=unbound /> To this, Dalí retorted, "I myself am surrealism."<ref name=olga /> In 1936, Dalí took part in the [[London International Surrealist Exhibition]]. His lecture, entitled {{lang\|fr\|''Fantomes paranoiaques authentiques''}}, was delivered while wearing a deep-sea diving suit and helmet.<ref>Jackaman, Rob. (1989) ''Course of English Surrealist Poetry Since the 1930s'', Edwin Mellen Press. ISBN 0-88946-932-6.</ref> He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind."<ref> Current Biography 1940, p219 </ref> Also in 1936, at the premiere screening of [[Joseph Cornell]]'s film ''[[Rose Hobart (film)\|Rose Hobart]]'' at Julian Levy's gallery in New York City, Dalí became famous for another inciddnt. Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the [[Museum of Modern Art]], featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. “My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made,” he said. "I never wrote it down or told anyone, but it is as if he had stolen it." Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!"<ref>[http://andel.home.mindspring.com/cornell_notes.htm Program Notes by Andy Ditzler (2005) and Deborah Solomon, ''Utopia Parkway:The Life of Joseph Cornell (New York: Farrar, Straus, and Giroux, 2003)]</ref> At this stage, Dalí's main patron was the very wealthy [[Edward James]]. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They became good friends, and James is featured in Dalí's painting ''[[Swans Reflecting Elephants]]''. They also collaborated on two of the most enduring icons of the [[Surrealist]] movement: the [[Lobster Telephone]] and the [[Mae West Lips Sofa]].{{Citation needed\|date=August 2009}}