Dali and the fear for mortality
Knowledge on Salvador Dali
Are you familiarised with Dali's art work at all?
Inheritance of eccentricity
Catalonia, Spain. I will never fully understand what attracts people into such heat. The kind that crawls down the throat, stifling rather than letting one breathe.
80’s are coming to an end and surely elders find it hard to seize their always-changing surroundings.
In agony, sumptuous Salvador Dali broaches “We genius, have no right to die because we are necessary to human progress.” —straight afterward, he cheers to his homeland. He has gone pale, appearing more as one of his plain white canvas. An irony for a man whose life work was already done.
85 years have gone by.
Tearful tired eyes on him: Gala, his life’s muse, has already passed away. Salvador intends to meet her soon in heaven; and so he spoke, fearless of reminding us again that he has a faith, unlike many other misunderstood geniuses.
At the museum going by his name in the worldwide famous artists’ town of Montmartre, the walls are mainly loaded with sketches of the different artistic experiments and approaches that the eccentric artist made, strongly influenced by the German Sigmund Freud, whom he once met. This encounter may be enough explanation on why he never hesitated to represent, explicitly, the sexuality in human beings.
This is just one example of the influences he got from many icons of all arts: from the roman/greek Plutarch to his contemporary colleague Velazquez.
The watch that melts to death
Do you believe Dali is the biggest icon of surrealism?
One particularity of Dali relays on the chronological order of his work, not chronological in the strict definition of the word, but as if his work was purposely arranged so that the whole frame would easily display his contributions and ideas based on all these past artists that moulded him.
Latter is easy to be inferred although he never stated so. What he did establish was a personal nomenclature known as the Dalinian Symbols amongst which the most popular ones would be the soft watches, the drawers (generally coming out of people’s bodies), and the Venus de Milo.
On Dali’s cosmogony, the soft watch stood for “the materialization of time flexibility and indivisibility of space”, whereas the drawers coming out of people stood for the unconscious; the legacy of Freud. And the Venus de Milo represented: in one hand the artist’s mythology, and in the other hand his concept of women, I would say that the inadequate perfect beauty Dali attempted to seize about women had to do with a contrast that was meditated by Nietzsche on Ecce Homo about —and to sum it up— the importance of the traditional woman, the centre of all the existence; the real vessel to our endurance whilst men were merely an agent, the helper, against the new born feminism strong ideology which fought equal roles. For the philosopher, this only denigrated the already perfect role they had, and hence Dali only sought to praise them.
Other Dalinian Symbols you may recognise are the oursin and all related exoskeleton figures such as the egg, and the snail’s shell.
Despite the many talented within the artistic guild in the past century; a guild that rose alongside capitalism and postmodernism, the Catalonian has often being called the best artist of the 20th Century. No doubts, his genius, merged with somewhat eccentricit, made him such a polemic and unique person. Certainly one of the most missed talents nowadays.
Perhaps the biggest mistake of the spanish surrealist was to not know he would prevail not in flesh but yes to make a change, for following generations would succeed and fail attempting to enhance and to permeate arts and hence enriching humanity.
A Spanish group named Mecano wrote a beautiful song in which it is desperately sought to emphasise how largely the artist would be missed. In it, the singer asserts through a beautiful metaphor that Dali’s moustache was the exact length between the means of the genius and the madness inside of him. His inheritance, I dare to assure, measures larger.