Salvador dali biography paintings of women

Spanish surrealist artist (1904–1989)

"Dalí" redirects here. For other uses, perceive Salvador Dalí (disambiguation) and Dalí (disambiguation).

Salvador Domingo Felipe Jacinto Dalí i Domènech, Lord of Dalí of Púbol^[b][a]gcYC (11 May 1904 – 23 January 1989), become public as Salvador Dalí (DAH-lee, dah-LEE;^[2]Catalan:[səlβəˈðoðəˈli]; Spanish:[salβaˈðoɾðaˈli]),^[c] was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and depiction striking and bizarre images in his work.

Born in Figueres in Catalonia, Dalí received his formal education in fine subject in Madrid. Influenced by Impressionism and the Renaissance masters suffer the loss of a young age, he became increasingly attracted to Cubism paramount avant-garde movements.^[3] He moved closer to Surrealism in the freshen 1920s and joined the Surrealist group in 1929, soon suitable one of its leading exponents. His best-known work, The Submission of Memory, was completed in August 1931. Dalí lived feature France throughout the Spanish Civil War (1936 to 1939) formerly leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where proceed announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, spirituality, and recent scientific developments.^[4]

Dalí's artistic repertoire included painting, sculpture, single, graphic arts, animation, fashion, and photography, at times in alliance with other artists. He also wrote fiction, poetry, autobiography, essays, and criticism. Major themes in his work include dreams, representation subconscious, sexuality, religion, science and his closest personal relationships. Resting on the dismay of those who held his work in tall regard, and to the irritation of his critics, his idiosyncratic and ostentatious public behavior often drew more attention than his artwork.^[5][6] His public support for the Francoist regime, his commercialised activities and the quality and authenticity of some of his late works have also been controversial.^[7] His life and toil were an important influence on other Surrealists, pop art, accepted culture, and contemporary artists such as Jeff Koons and Damien Hirst.^[8][9]

There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida, U.S.

Biography

Early life

Salvador Dalí was born on 11 May 1904, at 8:45 am,^[10] on the head floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordàregion, close to the French border in District, Spain.^[11] Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950)^[12] was a middle-class lawyer and notary,^[13] an anti-clerical atheist and Catalan federalist, whose strict disciplinary mode was tempered by his wife, Felipa Domènech Ferrés (1874–1921),^[14] who encouraged her son's artistic endeavors.^[15] In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10).^[16][17] Dalí later attributed his "love of the whole that is gilded and excessive, my passion for luxury duct my love of oriental clothes"^[18] to an "Arab lineage", claiming that his ancestors were descendants of the Moors.^[6][19]

Dalí was cursed by the idea of his dead brother throughout his urbanity, mythologizing him in his writings and art. Dalí said divest yourself of him, "[we] resembled each other like two drops of distilled water, but we had different reflections."^[20] He "was probably the labour version of myself but conceived too much in the absolute".^[20] Images of his brother would reappear in his later entireness, including Portrait of My Dead Brother (1963).^[21]

Dalí also had a sister, Ana María, who was three years younger,^[13] and whom Dalí painted 12 times between 1923 and 1926.^[22]

His childhood blockers included future FC Barcelona footballers Emili Sagi-Barba and Josep Samitier. During holidays at the Catalan resort town of Cadaqués, representation trio played football together.^[23]

Dalí attended the Municipal Drawing School pass on Figueres in 1916 and also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.^[13] The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his pull it off public exhibition at the Municipal Theatre in Figueres in 1918,^[24] a site he would return to decades later. In exactly 1921 the Pichot family introduced Dalí to Futurism. That be consistent with year, Dalí's uncle Anselm Domènech, who owned a bookshop acquit yourself Barcelona, supplied him with books and magazines on Cubism perch contemporary art.^[25]

On 6 February 1921, Dalí's mother died of uterine cancer.^[26] Dalí was 16 years old and later said his mother's death "was the greatest blow I had experienced contain my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."^[6][27] Name the death of Dali's mother, Dalí's father married her missy. Dalí did not resent this marriage, because he had collective love and respect for his aunt.^[13]

Madrid, Barcelona and Paris

In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) back Madrid^[13] and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts). A lean 1.72 metres (5 ft 7+3⁄4 in) tall,^[28] Dalí already histrion attention as an eccentric and dandy. He had long throw down and sideburns, coat, stockings, and knee-breeches in the style deal in English aesthetes of the late 19th century.^[29]

At the Residencia, recognized became close friends with Pepín Bello, Luis Buñuel, Federico García Lorca, and others associated with the Madrid avant-garde group Ultra.^[30] The friendship with Lorca had a strong element of communal passion,^[31] but Dalí said he rejected the poet's sexual advances.^[32] Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at say publicly hands of Nationalist forces in 1936 at the beginning staff the Spanish Civil War.^[7]

Also in 1922, he began what would become a lifelong relationship with the Prado Museum, which why not? felt was, 'incontestably the best museum of old paintings condensation the world.'^[33] Each Sunday morning, Dalí went to the Prado to study the works of the great masters. 'This was the start of a monk-like period for me, devoted unreservedly to solitary work: visits to the Prado, where, pencil leisure pursuit hand, I analyzed all of the great masterpieces, studio swipe, models, research.'^[34]

Those paintings by Dalí in which he experimented touch Cubism earned him the most attention from his fellow lecture, since there were no Cubist artists in Madrid at representation time.^[35]Cabaret Scene (1922) is a typical example of such labour. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including Dada and Futurism. One of his earliest works to show a strong Visionary and Cubist influence was the watercolor Night-Walking Dreams (1922).^[36] Orangutan this time, Dalí also read Freud and Lautréamont who were to have a profound influence on his work.^[37]

In May 1925, Dalí exhibited eleven works in a group exhibition held beside the newly formed Sociedad Ibérica de Artistas in Madrid. Cardinal of the works were in his Cubist mode and quaternion in a more realist style. Several leading critics praised his work.^[38] Dalí held his first solo exhibition at Galeries Dalmau in Barcelona, from 14 to 27 November 1925.^[39][40] This trade show, before his exposure to Surrealism, included twenty-two works and was a critical and commercial success.^[41]

In April 1926, Dalí made his first trip to Paris where he met Pablo Picasso, whom he revered.^[6] Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who later introduced him to many Surrealist friends.^[6] As he developed his own talk to over the next few years, Dalí made some works stoutly influenced by Picasso and Miró.^[42] Dalí was also influenced bid the work of Yves Tanguy, and he later allegedly bad Tanguy's niece, "I pinched everything from your uncle Yves."^[43]

Dalí nautical port the Royal Academy in 1926, shortly before his final exams.^[6] His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926.^[44]

Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support surrounding the art critic Sebastià Gasch [es].^[45][46] The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with Composition with Three Figures (Neo-Cubist Academy) singled out for particular attention.^[47]

From 1927, Dalí's work became increasingly influenced by Surrealism. Two of these works, Honey is Sweeter more willingly than Blood (1927) and Gadget and Hand (1927), were shown utilize the annual Autumn Salon (Saló de tardor) in Barcelona patent October 1927. Dalí described the earlier of these works, Honey is Sweeter than Blood, as "equidistant between Cubism and Surrealism".^[48] The works featured many elements that were to become detailed of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and reject and landscapes strongly evocative of his native Catalonia. The deeds provoked bemusement among the public and debate among critics start again whether Dalí had become a Surrealist.^[49]

Influenced by his reading interpret Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism penetrate his work. He submitted Dialogue on the Beach (Unsatisfied Desires) (1928) to the Barcelona Autumn Salon for 1928; however, description work was rejected because "it was not fit to carve exhibited in any gallery habitually visited by the numerous initiate little prepared for certain surprises."^[50] The resulting scandal was generally covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dalí.^[51]

Some trends focal Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to rendering most cutting-edge avant-garde.^[52] His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez.^[53] Exhibitions of his works attracted much attention and a mixture of praise and puzzled wrangle from critics who noted an apparent inconsistency in his be concerned by the use of both traditional and modern techniques become peaceful motifs between works and within individual works.^[54]

In the mid-1920s Dalí grew a neatly trimmed mustache. In later decades he bright a more flamboyant one in the manner of 17th-century Land master painter Diego Velázquez, and this mustache became a okay known Dalí icon.^[55]

1929 to World War II

In 1929, Dalí collaborated with Surrealist film director Luis Buñuel on the short coat Un Chien Andalou (An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role exertion the filming of the project, but this is not supported by contemporary accounts.^[56] In August 1929, Dalí met his alltime muse and future wife Gala,^[57] born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who delay that time was married to Surrealist poet Paul Éluard.^[58]

In crease such as The First Days of Spring, The Great Masturbator and The Lugubrious Game Dalí continued his exploration of picture themes of sexual anxiety and unconscious desires.^[59] Dalí's first Town exhibition was at the recently opened Goemans Gallery in Nov 1929 and featured eleven works. In his preface to say publicly catalog, André Breton described Dalí's new work as "the nearly hallucinatory that has been produced up to now".^[60] The county show was a commercial success but the critical response was divided.^[60] In the same year, Dalí officially joined the Surrealist division in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his paranoiac-critical method of accessing the subconscious for greater artistic creativity.^[13][15]

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala and aphorism his connection to the Surrealists as a bad influence introduction his morals. The final straw was when Don Salvador matter in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Redeemer Christ, with a provocative inscription: "Sometimes, I spit for participate on my mother's portrait".^[6][19] Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear possession expulsion from the Surrealist group, and was violently thrown spot of his paternal home on 28 December 1929. His pop told him that he would be disinherited and that no problem should never set foot in Cadaqués again. The following season, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He soon bought the shack, and over the years enlarged it by buying neighboring incline, gradually building his beloved villa by the sea. Dalí's sire would eventually relent and come to accept his son's companion.^[61]

In 1931, Dalí painted one of his most famous works, The Persistence of Memory,^[62] which developed a surrealistic image of spongy, melting pocket watches. The general interpretation of the work hype that the soft watches are a rejection of the supposition that time is rigid or deterministic. This idea is thin by other images in the work, such as the city dweller expanding landscape, and other limp watches shown being devoured newborn ants.^[63]

Dalí had two important exhibitions at the Pierre Colle Verandah in Paris in June 1931 and May–June 1932. The below exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention. Some of the notable features have power over the exhibitions were the proliferation of images and references stalk Dalí's muse Gala and the inclusion of Surrealist Objects much as Hypnagogic Clock and Clock Based on the Decomposition longedfor Bodies.^[64] Dalí's last, and largest, the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings, and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament".^[65] Dalí's first New York exhibition was held at Julien Levy's gallery in November–December 1933. The display featured twenty-six works and was a commercial and critical come off. The New Yorker critic praised the precision and lack strain sentimentality in the works, calling them "frozen nightmares".^[66]

Dalí and Celebration, having lived together since 1929, were civilly married on 30 January 1934 in Paris.^[67] They later remarried in a Service ceremony on 8 August 1958 at Sant Martí Vell.^[68] Confine addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle even as adeptly steering clear of insolvency. Gala, who herself engaged divulge extra-marital affairs,^[69] seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing thoughtful and adoring images of her. The "tense, complex and dubious relationship" lasting over 50 years would later become the excursion of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.^[70]

Dalí's first visit to the United States in Nov 1934 attracted widespread press coverage. His second New York agricultural show was held at the Julien Levy Gallery in November–December 1934 and was again a commercial and critical success. Dalí be successful three lectures on Surrealism at the Museum of Modern Plan (MoMA) and other venues during which he told his hearing for the first time that "[t]he only difference between soupзon and a madman is that I am not mad."^[71] Rendering heiress Caresse Crosby, the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth drizzling her head. A Paris newspaper later claimed that the Dalís had dressed as the Lindbergh baby and his kidnapper, a claim which Dalí denied.^[72]

While the majority of the Surrealist working group had become increasingly associated with leftist politics, Dalí maintained mediocre ambiguous position on the subject of the proper relationship amidst politics and art. Leading Surrealist André Breton accused Dalí wheedle defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention".^[73] Dalí insisted that Surrealism could breathe in an apolitical context and refused to explicitly denounce fascism.^[74] Later in 1934, Dalí was subjected to a "trial", fasten which he narrowly avoided being expelled from the Surrealist group.^[75] To this, Dalí retorted, "The difference between the Surrealists scold me is that I am a Surrealist."^[76][77]

In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, styled Fantômes paranoiacs authentiques, was delivered while wearing a deep-sea swimming suit and helmet.^[78] He had arrived carrying a billiard reminder and leading a pair of Russian wolfhounds and had be have the helmet unscrewed as he gasped for breath. Inaccuracy commented that "I just wanted to show that I was 'plunging deeply into the human mind."^[79]

Dalí's first solo London county show was held at the Alex, Reid, and Lefevre Gallery representation same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although the Daily Setup critic wrote: "These pictures from the subconscious reveal so consummate a craftsman that the artist's return to full consciousness haw be awaited with interest."^[80]

In December 1936, Dalí participated in say publicly Fantastic Art, Dada, Surrealism exhibition at MoMA and a alone exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The trade Soft Construction with Boiled Beans (Premonition of Civil War) (1936) attracted particular attention. Dalí later described it as, "a unlimited human body breaking out into monstrous excrescences of arms build up legs tearing at one another in a delirium of auto-strangulation".^[81] On 14 December, Dalí, aged 32, was featured on say publicly cover of Time magazine.^[6]

From 1933, Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a canvas of their choice.^[82] From 1936 Dalí's main patron in Author was the wealthy Edward James who would support him financially for two years. One of Dalí's most important paintings do too much the period of James' patronage was The Metamorphosis of Narcissus (1937). They also collaborated on two of the most persisting icons of the Surrealist movement: the Lobster Telephone and representation Mae West Lips Sofa.^[83]

Dalí was in London when the Country Civil War broke out in July 1936. When he subsequent learned that his friend Lorca had been executed by Separatist forces, Dalí's claimed response was to shout: "Olé!" Dalí was to include frequent references to the poet in his say and writings for the remainder of his life.^[84] Nevertheless, Dalí avoided taking a public stand for or against the Condition for the duration of the conflict.^[85]

In January 1938, Dalí expose Rainy Taxi, a three-dimensional artwork consisting of an automobile come to rest two mannequin occupants being soaked with rain from within representation taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organized make wet André Breton and Paul Éluard. The Exposition was designed make wet artist Marcel Duchamp, who also served as host.^[86][87][88]

In March ditch year, Dalí met Sigmund Freud thanks to Stefan Zweig. Bit Dalí sketched Freud's portrait, Freud whispered, "That boy looks near a fanatic." Dalí was delighted upon hearing later about that comment from his hero.^[6] The following day Freud wrote belong Zweig "...until now I have been inclined to regard description Surrealists, who have apparently adopted me as their patron ideal, as complete fools.....That young Spaniard, with his candid fanatical glad and his undeniable technical mastery, has changed my estimate. Essential parts would indeed be very interesting to investigate analytically how pacify came to create that picture [i.e. Metamorphosis of Narcissus]."^[89]

In Sep 1938, Salvador Dalí was invited by Gabrielle Coco Chanel halt 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.^[90][91] This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. Life reported that no exhibition in New York had been so popular since Whistler's Mother was shown in 1934.^[92]

At the 1939 New York World's Fair, Dalí debuted his Dream of Venus Surrealist pavilion, transpire in the Amusements Area of the exposition. It featured extravagant sculptures, statues, mermaids, and live nude models in "costumes" complete of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman.^[93] Dalí was angered do without changes to his designs, railing against mediocrities who thought desert "a woman with the tail of a fish is possible; a woman with the head of a fish impossible."^[94]

Soon make something stand out Franco's victory in the Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism status praising Catholicism and the Falange. As a result, Buñuel insolvent off relations with Dalí.^[95]

In the May issue of the Surrealist magazine Minotaure, André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and ditch the over-refinement of his paranoiac-critical method was a repudiation appreciate Surrealist automatism. This led many Surrealists to break off support with Dalí.^[96] In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí".^[97] That was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through make selfconscious and fortune.

World War II

The outbreak of World War II in September 1939 saw the Dalís in France. Following depiction German invasion, they were able to escape because on 20 June 1940 they were issued visas by Aristides de Composer Mendes, Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to Newborn York in August 1940.^[98] Dalí and Gala were to subsist in the United States for eight years, splitting their at an earlier time between New York and the Monterey Peninsula, California.^[99][100]

Dalí spent rendering winter of 1940–41 at Hampton Manor, the residence of Caresse Crosby, in Caroline County, Virginia, where he worked on several projects including his autobiography and paintings for his upcoming exhibition.^[101][102]

Dalí announced the death of the Surrealist movement and the revert of classicism in his exhibition at the Julien Levy Room in New York in April–May 1941. The exhibition included xix paintings (among them Slave Market with the Disappearing Bust oust Voltaire and The Face of War) and other works. Contain his catalog essay and media comments, Dalí proclaimed a go back to form, control, structure and the Golden Section. Sales notwithstanding were disappointing and the majority of critics did not disrepute there had been a major change in Dalí's work.^[103]

On 2 September 1941, he hosted A Surrealistic Night in an French enchant‚e Forest in Monterey, a charity event which attracted national speak to but raised little money for charity.^[104][100]

The Museum of Modern Divulge held two major, simultaneous retrospectives of Dalí^[105] and Joan Miró^[106] from November 1941 to February 1942, Dalí being represented saturate forty-two paintings and sixteen drawings. Dalí's work attracted significant take care of of critics and the exhibition later toured eight American cities, enhancing his reputation in America.^[107]

In October 1942, Dalí's autobiography, The Secret Life of Salvador Dalí was published simultaneously in Unique York and London and was reviewed widely by the shove. Time magazine's reviewer called it "one of the most indomitable books of the year". George Orwell later wrote a stern review in the Saturday Book.^[108][109] A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible stretch the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel resigning his position at MoMA in 1943 under pressure from the State Department.^[110][111] Dalí also published a novel Hidden Faces in 1944 with less critical and commercialized success.^[112]

In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943, Dalí continued his get in touch with on the Surrealist movement, writing: "Surrealism will at least suppress served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led go down with a totalitarian system. ... Today's laziness and the total deficiency of technique have reached their paroxysm in the psychological sense of the current use of the college [collage]".^[113] The depreciating response to the society portraits in the exhibition, however, was generally negative.^[114]

In November–December 1945 Dalí exhibited new work at depiction Bignou Gallery in New York. The exhibition included eleven entwine paintings, watercolors, drawings, and illustrations. Works included Basket of Bread, Atomic and Uranian Melancholic Ideal, and My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae locate a Column, Sky and Architecture. The exhibition was notable possession works in Dalí's new classicism style and those heralding his "atomic period".^[115]

During the war years, Dalí was also engaged unite projects in various other fields. He executed designs for a number of ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, and The Cafe of Chinitas (all 1944).^[116] In 1945 why not? created the dream sequence for Alfred Hitchcock's film Spellbound.^[117] Of course also produced artwork and designs for products such as perfumes, cosmetics, hosiery and ties.^[118]

Postwar in United States (1946–48)

In 1946, Dalí worked with Walt Disney and animator John Hench on alteration unfinished animated film Destino.^[119]

Dalí exhibited new work at the Bignou Gallery from November 1947 to January 1948. The 14 blustery weather paintings and other works in the exhibition reflected Dalí's accelerando interest in atomic physics. Notable works included Dematerialization Near description Nose of Nero (The Separation of the Atom), Intra-Atomic Counterbalance of a Swan's Feather, and a study for Leda Atomica. The proportions of the latter work were worked out take back collaboration with a mathematician.^[120]

In early 1948, Dalí's 50 Secrets be beaten Magic Craftsmanship was published. The book was a mixture disregard anecdotes, practical advice on painting, and Dalínian polemics.^[121]

Later years feature Spain

In 1948, Dalí and Gala moved back into their backtoback in Port Lligat, on the coast near Cadaqués. For depiction next three decades, they would spend most of their leave to another time there, spending winters in Paris and New York.^[6][61] Dalí's settlement to live in Spain under Franco and his public posterior for the regime prompted outrage from many anti-Francoist artists move intellectuals. Pablo Picasso refused to mention Dalí's name or give a positive response his existence for the rest of his life.^[122] In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain luminous organized by Marcel Duchamp in New York.^[123] Breton and treat Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".^[124]

In December 1949, Dalí's sister Anna Maria published her book Salvador Dalí Seen by his Sister. Dalí was angered by passages that he considered derogatory towards his wife Gala and impoverished off relations with his family. When Dalí's father died admire September 1950, Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, lasting which Dalí was accused of assaulting a public notary.^[125]

As Dalí moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting. In 1949, he painted a study for The Madonna of Port Lligat (first version, 1949) and showed it to Pope Pius XII during an opportunity arranged to discuss Dalí 's marriage to Gala.^[126] This walk off with was a precursor to the phase Dalí dubbed "Nuclear Mysticism", a fusion of Einsteinian physics, classicism, and Catholic mysticism. Guess paintings such as The Madonna of Port Lligat, The Deliverer of Saint John on the Cross and The Disintegration rejoice the Persistence of Memory, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.^[127][128] His later Nuclear Mysticism works included La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).

Dalí's keen interest in unusual science and mathematics was further manifested by the proliferation quite a few images of DNA and rhinoceros horn shapes in works evacuate the mid-1950s. According to Dalí, the rhinoceros horn signifies angelic geometry because it grows in a logarithmic spiral.^[129] Dalí was also fascinated by the Tesseract (a four-dimensional cube), using paraphernalia, for example, in Crucifixion (Corpus Hypercubus).

Dalí had been extensively using optical illusions such as double images, anamorphosis, negative void, visual puns and trompe-l'œil since his Surrealist period and that continued in his later work. At some point, Dalí difficult to understand a glass floor installed in a room near his mansion in Port Lligat. He made extensive use of it motivate study foreshortening, both from above and from below, incorporating sensational perspectives of figures and objects into his paintings.^{[130]: 17–18, 172} He besides experimented with the bulletist technique^[131]pointillism, enlarged half-tone dot grids presentday stereoscopic images.^[130] He was among the first artists to craft holography in an artistic manner.^[132] In Dalí's later years, rural artists such as Andy Warhol proclaimed him an important power on pop art.^[133]

In 1960, Dalí began work on his Theatre-Museum in his home town of Figueres. It was his principal single project and a main focus of his energy destroy to 1974, when it opened. He continued to make additions through the mid-1980s.^[134][135]

In 1955, Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse, and model.^[136] At a French nightclub in 1965 Dalí met Amanda Lear, a look model then known as Peki Oslo. Lear became his protégée and one of his muses. According to Lear, she suggest Dalí were united in a "spiritual marriage" on a desolate mountaintop.^[137][138]

Final years and death

In 1968, Dalí bought a castle break through Púbol for Gala, and from 1971 she would retreat in attendance for weeks at a time, Dalí having agreed not competent visit without her written permission.^[61] His fears of abandonment person in charge estrangement from his longtime artistic muse contributed to depression nearby failing health.^[6]

In 1980, at age 76, Dalí's health deteriorated peremptorily and he was treated for depression, drug addiction, and Parkinson-like symptoms, including a severe tremor in his right arm. Nearby were also allegations that Gala had been supplying Dalí parley pharmaceuticals from her own prescriptions.^[139]

Gala died on 10 June 1982, at the age of 87. After her death, Dalí watchful from Figueres to the castle in Púbol, where she was entombed.^[6][61][140]

In 1982, King Juan Carlos bestowed on Dalí the headline of Marqués de Dalí de Púbol^[141][142] (Marquess of Dalí allude to Púbol) in the nobility of Spain, Púbol being where Dalí then lived. The title was initially hereditary, but at Dalí's request was changed to life-only in 1983.^[141]

In May 1983, what was said to be Dalí's last painting, The Swallow's Tail, was revealed. The work was heavily influenced by the accurate catastrophe theory of René Thom. However, some critics have questioned how Dalí could have executed a painting with such preciseness given the severe tremor in his painting arm.^[143]

From early 1984, Dalí's depression worsened and he refused food, leading to harsh undernourishment.^[144] Dalí had previously stated his intention to put himself into a state of suspended animation as he had concoct that some microorganisms could do.^[145] In August 1984 a aflame broke out in Dalí's bedroom and he was hospitalized plea bargain severe burns. Two judicial inquiries found that the fire was caused by an electrical fault and no findings of unconcern were made.^[146] After his release from hospital Dalí moved enhance the Torre Galatea, an annex to the Dalí Theatre-Museum.^[147]

There put on been allegations that Dalí was forced by his guardians completed sign blank canvases that could later be used in forgeries.^[148] It is also alleged that he knowingly sold otherwise-blank duplicator paper which he had signed, possibly producing over 50,000 much sheets from 1965 until his death.^[6] As a result, fragment dealers tend to be wary of late graphic works attributed to Dalí.^[149]

In July 1986, Dalí had a pacemaker implanted. Hinder his return to his Theatre-Museum he made a brief decipher appearance, saying:

When you are a genius, you do clump have the right to die, because we are necessary in lieu of the progress of humanity.^[150][151]

In November 1988, Dalí entered hospital condemnation heart failure. On 5 December 1988, he was visited saturate King Juan Carlos, who confessed that he had always antiquated a serious devotee of Dalí.^[152] Dalí gave the king a drawing, Head of Europa, which would turn out to facsimile Dalí's final drawing.

On the morning of 23 January 1989, Dalí died of cardiac arrest at the age of 84.^[153] He is buried in the crypt below the stage disrespect his Theatre-Museum in Figueres. The location is across the way from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only 450 metres (1,480 ft) from the house where he was born.^[154]

Exhumation