Salvador Dali's Art and Writing, 1927 1942

Klappentext A study of the interaction between Dal 's art and writing. Zusammenfassung This 1996 book examines the evolution of Dali's art during the 1920s and 1930s when he was associated first with the Catalan avant-garde and then with the Surrealist group in Paris. Haim Finkelstein's study examines these writings in detail as the foundation for the evolution of Dali's unique artistic vision.

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Salvador Dali's art and writing, 1927-1942 examines the evolution of Dali's art during the 1920s and 1930s, when he was associated, first with the Catalan avant-grade, and then with the Surrealist group in Paris. During this period, Dali's painting style changed radically, a phenomenon which has never been fully accounted for in the extensive literature on this subject. Haim Finkelstein demonstrates that Dali's writing, in which he explicated theoretical systems such as Paranoia-Criticism and other ideas adopted from Freud, were important for the active and critical role that they played in his development as an artist and often controversial figure. His study is the first to examine these writings in detail as the foundation for the evolution of Dali's unique artistic vision.

Résumé
This 1996 book examines the evolution of Dali's art during the 1920s and 1930s when he was associated first with the Catalan avant-garde and then with the Surrealist group in Paris. Haim Finkelstein's study examines these writings in detail as the foundation for the evolution of Dali's unique artistic vision.

Contenu

Part I. Under the Sign of Saint Sebastian: 1. Lorcaean aesthetics, Cubism, and metaphysical painting stylistic developments until 1926; 2. Saint Sebastià and the proto-surrealist paintings of 1927; 3. Words and images - freedom and the perception of limits; 4. Fear and desire - the initial phase of Dalí's Aesthetics of Repugnance; Part II. Under the Sign of the Great Masturbator: 5. From anti-art to surrealism; 6. Dalí, Buñuel and Un Chien andalou; 7. From Un Chien andalou to The Great Masturbator; 8. Le Grand Masturbateur and the paintings of 1929 30; Part III. Under the Sign of William Tell: 9. Revolt, defiance, and scatological provocation; 10. The omnipotence of love - Gala vs. William Tell; 11. The morphological aesthetics of the soft and hard and the search for form; 12. From symbolic functioning to 'Beings-Objects' - Dalí and the surrealist object; Part IV. Under the Sign of the Angelus: 13. Paranoia-criticism - concept and theory; 14. From paranoiac intuition to conceptualization - double and multiple images; 15. Paranoiac mechanisms in The Tragic Myth of Millet's Angelus and in Dalí's shorter writings; Part V. Under the Sign of Narcissus: 16. The metamorphosis of Narcissus and the dialectics of fragmentation and wholeness; 17. To become Classic - rejection of earlier surrealist attitudes and the abandonment of Freudian theory; 18. I Renounce Nothing: I Continue - observations on Dali's art and writing in the 1940s and after; Notes; Select bibliography; Index.