12/13/2023 0 Comments Dali enigmo del deseo![]() ![]() "Dada, Surrealism, and Their Heritage," July 16–September 8, 1968, no. 58 (as "Accommodations of Desire," lent by the Julien Levy Gallery, Inc., Bridgewater, Connecticut). "Dada, Surrealism, and Their Heritage," March 27–June 9, 1968, no. 38 as "Accommodations of Desire," lent by Mr. "Space and Dream," December 5–29, 1967, unnumbered cat. ![]() 245 (as "Accommodations of Desire," lent by Mr. ![]() Poetry in Painting 1931–1949: From the Collection of the Julien Levy Gallery, New York," November 10–December 18, 1965, not in catalogue. "From the Ludington Collection," March 16–April 12, 1964, no. Dickson Art Center, University of California, Los Angeles. "Fiesta Exhibition 1953: Picasso, Gris, Miro, Dali," August 4–30, 1953, no. Ludington Collection of Contemporary European and American Paintings and Sculpture," May 13–June 20, 1948, no catalogue. "Salvador Dali," May 16–June 14, 1942, unnumbered cat. California Palace of the Legion of Honor. "Salvador Dali," April 5–May 4, 1942, unnumbered cat. 5 as "Accommodations of Desire," lent by Julien Levy). "Salvador Dali," November 19, 1941–January 11, 1942, unnumbered cat. 35 (lent by the Julien Levy Gallery, New York). "The Painters of Still Life," January 25–February 15, 1938, no. 5 (as "Les accommodations du désir," lent by a private collection). "Exposition Salvador Dali," June 3–15, 1931, no. 2 (as "Les accommodations des désirs," lent by A. ![]() These collaged elements are virtually indistinguishable from the super-saturated color and painstaking realism of the rest of the composition, startling the viewer into questioning the existence of the phenomena recorded and of the representation as a whole. Dalí did not paint the lion heads but, rather, cut them out from what must have been an illustrated children's book, slyly matching the latter's detailed style with his own. Also depicted are various vessels (one in the shape of a woman's head) and three figures embracing on a platform. In this picture, which Dalí painted after taking a walk alone with Gala, he included seven enlarged pebbles on which he envisioned what lay ahead for him: "terrorizing" lions' heads (not so "accommodating" to his "desires" as the title of the painting facetiously suggests), as well as a toupee and a colony of ants (a symbol of decay). The woman, Gala, then the wife of the Surrealist poet Paul Éluard, became Dalí's life-long muse and mate. Painted in the summer of 1929, The Accommodations of Desire is a small gem that deals with Dalí's sexual anxieties over a love affair with an older, married woman. Such pictures exemplified the Surrealist preoccupation with dreams and the unconscious. Dalí, who was given to hallucinations and paranoiac visions, cultivated these outrageous subjects for his paintings, rendering them so meticulously that they were unsettling in their clinical matter-of-factness. His flamboyance, flair for drama and self-promotion, and hyperactive imagination reinvigorated the movement and its public popularity. The Spanish-born artist Salvador Dalí was officially allied with Surrealism from 1929 to 1941, and even afterward his work continued to reflect the influence of Surrealist thought and methodology. ![]()
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