Salvador Dali is perhaps the most universally famous and popular twentieth-century artist. What accounts for this popularity? Is it his excellence as an artist? The accessibility of his imagery? Or his genius as a self-publicist? In a searching text, completely revised and updated in this edition to incorporate new information that has come to light since Dali's death in 1989, Dawn Ades considers some of the puzzling questions raised by the Dali phenomenon. His early years, the development of his technique and style, his relationship with the Surrealists, his exploitation of Freudian ideas,…mehr
Salvador Dali is perhaps the most universally famous and popular twentieth-century artist. What accounts for this popularity? Is it his excellence as an artist? The accessibility of his imagery? Or his genius as a self-publicist? In a searching text, completely revised and updated in this edition to incorporate new information that has come to light since Dali's death in 1989, Dawn Ades considers some of the puzzling questions raised by the Dali phenomenon. His early years, the development of his technique and style, his relationship with the Surrealists, his exploitation of Freudian ideas, and the image which Dali created of himself as the mad genius artist are all explored in this brilliant and thought provoking study.
Dawn Ades is a professor emerita of the history and theory of art at the University of Essex. She has written extensively on Dada, Surrealism, photography, and women artists, among other topics. Her many books also include Dalí and, with Neil Cox and David Hopkins, Marcel Duchamp, both in the World of Art series.
Inhaltsangabe
Preface Chronology 1. Early years: Early influences; Madrid School of Fine Arts; Cubism and Purism; first one-man exhibitions. 2. Dalí and the Catalan avant-garde: The Catalan Anti-Artistic Manifesto and the L'Amic de les Arts group; Dalí's early writings on painting, photography and film; Luis Buñuel and the making of Un Chien Andalou; Surrealism in Spain and its influence on Dalí. 3. Dalí, Surrealism and psycho-analysis: Dalí's official affiliation with the Surrealist movement; the influence of Freud and psycho-analysis on his painting; collage; the legend of William Tell as obsessive theme; Dalí's theoretical differences with Breton, and relationship with Surrealism on questions of taste and politics; Dalí, history and tradition. 4. Painting and the paranoiac-critical method: Theory and practice of paranoia-criticism; influence of Lacan; relationship with other Surrealist methods like automatism and the dream; The Tragic Myth of Millet's Angelus as paranoiac-critical analysis. 5. Dalí and the Surrealist object: Dalí's 'Surrealist object functioning symbolically'; the object in relation to Surrealist theory; found or 'involuntary' and imaginary objects; furniture, spectacle, installations and exhibitions; Dalí's jewels. 6. Dalí's post-war painting: Modern science and mysticism; variety of visual experiment; use of photography, holography and stereoscopy. 7. Dalí and the cinema: Dalí and L'Age d'or; Short Critical History of the Cinema; unrealized scenarios; Hollywood collaborations and other film projects. Select Bibliography
Preface Chronology 1. Early years: Early influences; Madrid School of Fine Arts; Cubism and Purism; first one-man exhibitions. 2. Dalí and the Catalan avant-garde: The Catalan Anti-Artistic Manifesto and the L'Amic de les Arts group; Dalí's early writings on painting, photography and film; Luis Buñuel and the making of Un Chien Andalou; Surrealism in Spain and its influence on Dalí. 3. Dalí, Surrealism and psycho-analysis: Dalí's official affiliation with the Surrealist movement; the influence of Freud and psycho-analysis on his painting; collage; the legend of William Tell as obsessive theme; Dalí's theoretical differences with Breton, and relationship with Surrealism on questions of taste and politics; Dalí, history and tradition. 4. Painting and the paranoiac-critical method: Theory and practice of paranoia-criticism; influence of Lacan; relationship with other Surrealist methods like automatism and the dream; The Tragic Myth of Millet's Angelus as paranoiac-critical analysis. 5. Dalí and the Surrealist object: Dalí's 'Surrealist object functioning symbolically'; the object in relation to Surrealist theory; found or 'involuntary' and imaginary objects; furniture, spectacle, installations and exhibitions; Dalí's jewels. 6. Dalí's post-war painting: Modern science and mysticism; variety of visual experiment; use of photography, holography and stereoscopy. 7. Dalí and the cinema: Dalí and L'Age d'or; Short Critical History of the Cinema; unrealized scenarios; Hollywood collaborations and other film projects. Select Bibliography
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