Dali, Salvador - Mae West's Face Which Can Be Used as a Surrealist Apartment

• Art Postcard

   

• Work of art title: Mae West's Face Which Can Be Used as a Surrealist Appartment 1934-35
• Artist (if known): Salvador Dali
• Media or other details:  paiting
• Publisher / Gallery: Benedikt Taschen
• Postally used:  no
• Stamp & postmark details (if relevant): na
• Size: modern (slightly larger)
• Notes & condition details:

NOTES:

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Stock No.:A256

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Salvador Domingo Felipe Jacinto Dal� i Dom�nech (May 11, 1904 � January 23, 1989), known as Salvador Dal� (Catalan pronunciation: [s??�?'�o �?'?i]), was a prominent Spanish surrealist painter born in Figueres, Spain.

Dal� was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.^[2][3] His best-known work, The Persistence of Memory, was completed in 1931. Dal�'s expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

Dal� attributed his ""love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes""^[4] to a self-styled ""Arab lineage"", claiming that his ancestors were descended from the Moors.

Dal� was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics.^[5]

...

While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dal� maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist Andr� Breton accused Dal� of defending the ""new"" and ""irrational"" in ""the Hitler phenomenon"", but Dal� quickly rejected this claim, saying, ""I am Hitlerian neither in fact nor intention"".^[32] Dal� insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism.^{[citation needed]} Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dal� was subjected to a ""trial"", in which he was formally expelled from the Surrealist group.^[23] To this, Dal� retorted, ""I myself am surrealism"".^[18]

In 1936, Dal� took part in the London International Surrealist Exhibition. His lecture, titled Fant�mes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet.^[33] 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.""^[34]

Also in 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dal� became famous for another incident. 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 Dal�'s work. Dal� 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 Dal�'s accusation tend to the more poetic: ""He stole it from my subconscious!"" or even ""He stole my dreams!""^[35]

In this period, Dal�'s main patron in London was the very wealthy Edward James. He had helped Dal� emerge into the art world by purchasing many works and by supporting him financially for two years. 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]}

In 1938, Dal� met Sigmund Freud thanks to Stefan Zweig. Later, in September 1938, Salvador Dal� was invited by Gabrielle Coco Chanel to her house ""La Pausa"" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York.^[36][37] At the end of the 20th century, ""La Pausa"" was partially replicated at the Dallas Museum of Art to welcome the Reeves collection and part of Chanel's original furniture for the house.^[38]

Also in 1938, Dali unveiled Rainy Taxi, a three-dimensional artwork, consisting of an actual automobile with two mannequin occupants. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surr�alisme, organised by Andr� Breton and Paul Eluard. The Exposition was designed by artist Marcel Duchamp