LaurieAnnie's photos with the keyword: Dali

Title: Construction molle avec des haricots bouillis (Premonition de la guerre civile) (Soft Construction with Boiled Bean [Premonition of Civil War]) Artist: Salvador Dalí (Spanish, Figueres 1904–1989 Figueres) Date: 1936 Geography: Country of Origin Spain Medium: Oil on canvas Dimensions: 39 5/16 × 39 3/8 in. (99.9 × 100 cm) Classification: Paintings Credit Line: Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950 Accession Number: GS.051 Text from: www.metmuseum.org/art/collection/search/829454

Title: Construction molle avec des haricots bouillis (Premonition de la guerre civile) (Soft Construction with Boiled Bean [Premonition of Civil War]) Artist: Salvador Dalí (Spanish, Figueres 1904–1989 Figueres) Date: 1936 Geography: Country of Origin Spain Medium: Oil on canvas Dimensions: 39 5/16 × 39 3/8 in. (99.9 × 100 cm) Classification: Paintings Credit Line: Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950 Accession Number: GS.051 Text from: www.metmuseum.org/art/collection/search/829454

Title: Téléphone-homard (Lobster Telephone) Artist: Salvador Dalí (Spanish, Figueres 1904–1989 Figueres) Date: 1938 Geography: Country of Origin UK Medium: Steel, plaster, rubber, resin, and and paper Dimensions: 7 × 13 × 7 in. (17.8 × 33 × 17.8 cm) Classification: Sculpture Credit Line: Tate, Purchased 1981 Rights and Reproduction: © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Photo © Tate Text from: www.metmuseum.org/art/collection/search/838423

Title: Téléphone-homard (Lobster Telephone) Artist: Salvador Dalí (Spanish, Figueres 1904–1989 Figueres) Date: 1938 Geography: Country of Origin UK Medium: Steel, plaster, rubber, resin, and and paper Dimensions: 7 × 13 × 7 in. (17.8 × 33 × 17.8 cm) Classification: Sculpture Credit Line: Tate, Purchased 1981 Rights and Reproduction: © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Photo © Tate Text from: www.metmuseum.org/art/collection/search/838423

Title: Téléphone-homard (Lobster Telephone) Artist: Salvador Dalí (Spanish, Figueres 1904–1989 Figueres) Date: 1938 Geography: Country of Origin UK Medium: Steel, plaster, rubber, resin, and and paper Dimensions: 7 × 13 × 7 in. (17.8 × 33 × 17.8 cm) Classification: Sculpture Credit Line: Tate, Purchased 1981 Rights and Reproduction: © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Photo © Tate Text from: www.metmuseum.org/art/collection/search/838423

Salvador Dali. Spanish, 1904-1989. Crucifixion (Corpus Hypercubus) 1954 Oil on canvas Accession # 55.5 Text from the Metropolitan Museum of Art label.

Salvador Dali. Spanish, 1904-1989. Crucifixion (Corpus Hypercubus) 1954 Oil on canvas Accession # 55.5 Text from the Metropolitan Museum of Art label.

Madonna, 1958 Salvador Dalí (Spanish, 1904–1989) Oil on canvas; 88 7/8 x 75 1/4 in. (225.7 x 191.1 cm) Gift of Drue Heinz, in memory of Henry J. Heinz II, 1987 (1987.465) Salvador Dalí became an official member of the Surrealist group in 1929, and even after he was expelled by its leader, André Breton, in 1941, his work continued to reflect the influence of Surrealist thought and methodology. Dalí's paintings feature intellectual puzzles and visual ambiguities, and his style is marked by superrealistic illusionism that is used to describe completely unrealistic, fanciful subjects. Madonna is one of several works Dalí made after 1941 that uses classical imagery as the basis for Surrealist invention. Here, he paints two different simultaneous subjects with a profusion of gray and pink dots: a Madonna and Child based on Raphael's Sistine Madonna (Gemäldegalerie, Dresden, after 1513), and a large ear, whose ridged interior surface is defined by the presence of these two figures. Each motif is designed to come into focus at a different distance. At close range, the painting looks completely abstract; from about six feet away, it reveals the Madonna and Child; and from fifty feet, it is what the artist called "the ear of an angel." To the left of the main images is a trompe-l'oeil detail of a red cherry suspended on a string from a torn and folded piece of paper; its shadow is cast onto another piece of paper bearing the signature of the artist. Text from: www.metmuseum.org/toah/ho/11/eusi/ho_1987.465.htm

Madonna, 1958 Salvador Dalí (Spanish, 1904–1989) Oil on canvas; 88 7/8 x 75 1/4 in. (225.7 x 191.1 cm) Gift of Drue Heinz, in memory of Henry J. Heinz II, 1987 (1987.465) Salvador Dalí became an official member of the Surrealist group in 1929, and even after he was expelled by its leader, André Breton, in 1941, his work continued to reflect the influence of Surrealist thought and methodology. Dalí's paintings feature intellectual puzzles and visual ambiguities, and his style is marked by superrealistic illusionism that is used to describe completely unrealistic, fanciful subjects. Madonna is one of several works Dalí made after 1941 that uses classical imagery as the basis for Surrealist invention. Here, he paints two different simultaneous subjects with a profusion of gray and pink dots: a Madonna and Child based on Raphael's Sistine Madonna (Gemäldegalerie, Dresden, after 1513), and a large ear, whose ridged interior surface is defined by the presence of these two figures. Each motif is designed to come into focus at a different distance. At close range, the painting looks completely abstract; from about six feet away, it reveals the Madonna and Child; and from fifty feet, it is what the artist called "the ear of an angel." To the left of the main images is a trompe-l'oeil detail of a red cherry suspended on a string from a torn and folded piece of paper; its shadow is cast onto another piece of paper bearing the signature of the artist. Text from: www.metmuseum.org/toah/ho/11/eusi/ho_1987.465.htm

Salvador Dalí. (Spanish, 1904-1989). The Little Theater. 1934. Wood and glass, painted, 12 3/4 x 16 3/4 x 12 1/4" (32.3 x 42.5 x 31.1 cm). Acquired through the James Thrall Soby Bequest, and the Abby Aldrich Rockefeller, Loula D. Lasker, and William S. Paley Funds. Gallery label text 2006 This sculpture—part theatrical maquette, part multi-layered painting—is composed of eleven painted glass panes that juxtapose several distinct and peculiar worlds. At the margins the proscenium arch, receding stage floor, and inkwell evoke the stage and an unseen playwright, highlighting the orchestrated, artificial character of painting. Behind these Dalí contrasts an idyllic Arcadian scene with a barren, ruined landscape. Dalí's unique construction was inspired by his longstanding fascination with optical devices and with the theater. Text from: www.moma.org/collection/browse_results.php?criteria=O:DE:...

Salvador Dalí. (Spanish, 1904-1989). The Little Theater. 1934. Wood and glass, painted, 12 3/4 x 16 3/4 x 12 1/4" (32.3 x 42.5 x 31.1 cm). Acquired through the James Thrall Soby Bequest, and the Abby Aldrich Rockefeller, Loula D. Lasker, and William S. Paley Funds. Gallery label text 2006 This sculpture—part theatrical maquette, part multi-layered painting—is composed of eleven painted glass panes that juxtapose several distinct and peculiar worlds. At the margins the proscenium arch, receding stage floor, and inkwell evoke the stage and an unseen playwright, highlighting the orchestrated, artificial character of painting. Behind these Dalí contrasts an idyllic Arcadian scene with a barren, ruined landscape. Dalí's unique construction was inspired by his longstanding fascination with optical devices and with the theater. Text from: www.moma.org/collection/browse_results.php?object_id=80884