Photos:  http://delirium.lejournal.free.fr/salvador_dali.jpg

http://www.fantasyarts.net/Salvador_Dali/Salvador_Dali_Egg.jpg

FROM: The Independent (January 24th 1989) ~
By David Gascoyne

The names of two of the most celebrated and popular figures
in the history of modern art are linked by a singular
coincidence. Vincent Van Gogh and Salvador Dali both
inherited the first name of a pre-deceased elder brother, a
peculiarity that may be considered a determining factor in
their respective developments. Though wholly dissimilar as
painters, both are associated with insanity, Van Gogh
through struggling with and succumbing to it, Dali through
successfully exploiting his simulation of paranoia in
particular, proclaiming that the only difference between
himself and a madman was that he was not mad.

The incidence of Dali's pampered Catalan childhood, spent in
Figueras, where in 1904 he was born the son of the town
notary, and of the summer holidays spent with his family at
Cadaques on the coast north of Barcelona, provided him with
the obsessive imagery and haunting rocky seaside landscape
settings to be found in all the paintings which first made
him famous during the pre-war decade of 1929-39. The rotting
corpse of a donkey on a beach, the head of a hydrocephalic
child, shells, ants, grasshoppers and cypresses, were all
lodged ineradicably in his memory during his most formative
years.

In 1921, following the trauma of his doting mother's sudden
death, Dali left Figueras to study at the principal academy
of Fine Arts in Madrid, where he occupied a room in the
capital's undergraduate residencia. Here, during the next
two years, having distinguished himself as much by his
intellectual brilliance as by his eccentricities and
dandified appearance, he was befriended by two of the most
distinguished of his contemporaries, Federico Garca Lorca
and Luis Bunuel. In 1926 Lorca was to compose his 'Ode to
Salvador Dali'; and Bunuel was to collaborate with Dali in
1929 in producing the first Surrealist film, Un Chien
Andalou.

Dali's exceptional gifts as a painter had already been
recognised by both Picasso and Miro before he arrived in
Paris in 1929. Andre Breton, the Surrealists' maestro,
introduced his exhibition of that year by hailing his art as
'the most hallucinatory known until now'. It was also in
1929 that Dali first encountered Gala, Russian wife of the
poet Paul Eluard, the woman - destined to exercise a
paramount influence over his subsequent life - whom he
married after the Eluards' divorce in 1932. Gala's likeness
now became a predominant part of the repertoire of Dali's
pictorial obsessions, such as the 'Angelus' of Millet,
William Tell, Lenin, a Hitlerian nursemaid and Mae West. In
his life she played the role of midwife, monitress and muse.

Having early assimilated the ideology of Freudian
psychoanalysis, Dali went on to elaborate, under the
influence of Jacques Lacan, the 'paranoiac-critical method'
which led him to fill his most characteristic works with
double and often multiple images, scrambled metaphors and
visual puns. 'My whole ambition in the pictorial domain is
to materialise images of concrete irrationality with the
most imperialist fury of precision,' wrote Dali in 1935 in
'Conquest of the Irrational', an essay accompanying a series
of reproductions in a booklet brought out that year by the
New York dealer Julien Levy, on the occasion of Dali's third
American exhibition.

The frontispiece consists of a colour-plate of The Angelus
of Gala, which portrays Gala in her prime, wearing a
versicoloured embroidered jacket, seated on a wheelbarrow
with hands folded in her lap, her head silhouetted against a
framed reproduction of Millet's The Angelus: the male figure
in which Dali interpreted as concealing an erection with his
hat, while facing a female like a praying mantis, both
staring fixedly at faeces at their feet. This small painting
is impeccably executed in a style evincing admiration for
Vermeer and Meissonier.

Among the other plates contained in this publication is one
reproducing a poster, headed 'Salvador Dali The Surrealist
Mystery of New York in 1935', which perfunctorily presents
an assortment of Dalinian imagery: a flabby watch, the bowed
head of 'the Great Masturbator' surmounted by an inkwell and
fastened with safety pins, soiled night-wear, edibles, ants,
a tiny father and son in the distance - in a manner
suggestive of the announcement of a freak-show booth at a
circus. Dali's 'Conquest of the Irrational' was about to
become synonymous with the conquest of the international
art- market and the media by the most assiduously
exhibitionist showman of the century.

Before finally leaving France in 1940 to take refuge for
many years in the United States, Dali had already succeeded
in attracting a group of distinguished and lucrative
patrons, among them the Prince de Faucingny-Lucinges, the
Visconte de Noailles and, in England, the extravagant Edward
James. In America, his prestige patented from the start by
the approval of Alfred Barr of the Museum of Modern Art, he
immediately secured the favour of a clientele of even
wealthier collectors, such as Caresse Crosby, Helena
Rubenstein and Huntington Hartford.

There can today be hardly any notable city in America that
does not possess in its local museum at least one work by
Dali, if not always of notable quality. After the defeat of
France, many members of the Surrealists group also found
themselves in America, headed by Andre Breton, who in 1934
had already hauled Dali over the coals on account of his
enthusiasm for Hitler, in whom he could see only a
spectacular exponent of delirium. Breton, finding that the
American public of the Forties regarded Surrealism as almost
entirely synonymous with Dali's pictorial contribution to
the movement, coined an anagrammatic epithet expressive of
his scornful disapprobation: Avida Dollars.

With the tireless support and incitement of Gala, for whom
opulence was the most indisputable appanage of genius, Dali
had before long accumulated the foundation of a fortune to
be surpassed at one time only by that of Picasso. Fully
aware of the Freudian unconscious's identification of money
with excrement, he would have regarded being filthy rich as
a necessary component of the Dalinian identity.

There can be no doubt that Dali willingly collaborated with
commercialism in compromising his gift by a repetitive
exploitation of the more luridly sensational products of his
imagination. Few serious critics would now maintain that the
quality of Dali's later output ever again reached the level
it achieved prior to 1939. The Spectre of Sex-Appeal of
1935, and Soft Construction with Boiled Beans: Premonition
of Civil War of 1936, may be regarded as two of the most
powerful icons expressive of the Zeitgeist of their epoch,
and are probably as close in spirit as anything produced by
a modern Spanish painter to Goya's late (black) works, his
Chronos Devouring His Children in particular.

At the other extreme, vast works of 1959 and 1960 such as
Columbus's Discovery of America and The Ecumenical Council
impress one above all as epitomising, with consummately
slick technical proficiency, a sprawling pictorial rhetoric
of an emptiness one might, formerly, have believed Dali
incapable of attaining.

When a respected art critic and broadcaster declared to me
recently that, as a practising Catholic, he regarded Dali as
the greatest religious painter of our time, he was probably
thinking particularly of the Christ of St John of the Cross,
acquired by the Glasgow Art Gallery in 1952. The painter
himself once declared to an interviewer, in one of his not
unprecedented moments of straightforward candour, that
although a painter of religious subjects he did not regard
himself as possessed of religious faith. If his
representation of the vision described by the Spanish saint
is capable of impressing many viewers as an inoffensive yet
potent image, that is no doubt due to the fact that the
painter restrained himself in this case from adding any
unexpected details to an austere visualisation.

To many other people, the depiction of Gala as the Virgin
Mary, even in The Madonna of Port Lligat 1950 (a picture
approved of by the Pope), cannot but appear somewhat
ludicrous if they are aware of the model's most publicised
propensities. If the latter painting succeeds, it is as an
example of high-class kitsch; to judge from reproductions of
it, the specious and unredeemed kitsch of The Last Supper to
be seen in the Washington National Gallery can hardly fail
to repel any genuinely religious person.

It must nevertheless be allowed that Dali succeeded in
preserving, throughout the 10 years he spent in America and
at least two subsequent decades based at Port Liggat near
Figueras, an apparently inexhaustible inventiveness, despite
inevitable fluctuations in the quality of his facture. He
managed to introduce the element of the random associated
with tachisme into otherwise rigorously controlled
compositions. He extended his personal bestiary to include
blazing giraffes, stalk- legged elephants and camels,
rhinoceroses, geodesic snails and a pet ocelot.

His later works incorporate numerous allusions to both
quantum and nuclear physics. To his hallucinogenic period,
circa 1970, corresponds a renewal of virtuosity in style and
use of colour. But even more astonishing than his capacity
for invention was the creative energy that enabled him to
participate not only in incessant media events and
'happenings', but to make a vast number of contributions to
the realms of fashion design and jewellery, film (work for
the Marx Brothers, Hitchcock and others), ballet and opera
sets and costumes (Bacchanale at the Met, Salome at Covent
Garden), interior design and cookery, but above all book
illustration.

Though never surpassing the incomparable plates he designed
in the Thirties to illustrate Lautreamont's Chants de
Maldoror, Dali provided innumerable drawings and engravings
to accompany luxury editions of Macbeth, Montaigne, Dante,
the Bible, Ronsard, Apollinaire, Mao Tse-Tung, and Andre
Malraux. Late in his career, this department of his
production led him into becoming involved with the
complications of forgery, fraud and litigation, no doubt
still to be sorted out.

It should not be forgotten that Dali may also be considered
a remarkable writer. The Secret Life of Salvador Dali is
perhaps the most fascinating and amusing autobiography ever
produced by a painter. His polemical writings on modern art,
backed by a lifelong familiarity with the works of great and
less well-known artists of every period and school, display
an aggressive and often pungent wit. His analysis of The
Tragic Myth of Millet's 'Angelus' elucidates in baroque
terminology the complex thoughts behind some of his most
significant productions.

Professor Rafael Nadal, once the contemporary and friend of
Lorca and Dali at the Madrid Students' residencia, has
assured me that one cannot pretend properly to understand
Dali unless one has some grasp of the peculiarly Catalan
notion of the buffoon, a figure rooted in local folk
mythology, whose function is satirically to deflate anything
commonly accorded respect, by paradoxically inflating it, by
means of histrionics exaggeration. 'Even when one is playing
games,' Dali is reported to have remarked, 'there is a shred
of more or less bitter truth.' It must always have been
difficult to be quite sure that Dali was not being serious
when sending up even himself, or not sending up what he
appeared to take seriously.

In 1935, Dali employed me, on Eluard's recommendation, to
translate the 25-page essay Conquete de l'Irrationel. Every
day for about a week I sat at a table in his rue Gauget
studio wrestling with this task, with the aid of occasional
explanations from the author or, more often, from Gala,
whose French was much easier to understand. The room full of
objects, paintings and an easel was behind my back, but a
long, narrow mirror at my feet enabled me to observe
whatever went on in it.

Dali in those days had not yet fully developed his
magisterial later persona, though his moustache was already
impressive, and at lunch the maid would regularly be sent
out to find a replacement for the baguette of bread, which
was never sufficiently long.

During the week I was there he had matters of business which
kept him away from home, but whenever he had time to spare
he would resume work on his current canvas. I was thus
privileged to witness something of the outwardly calm frenzy
with which he attacked the work in hand. Sometimes screwing
a magnifying lens to one eye, sometimes using a brush with
only three hairs, he became transformed into an intensely
absorbed extension of his hand, completely oblivious of my
presence or of any other distraction whatever. The passion
that possessed him then must have been at the core of the
incredible energy that kept him going throughout all the
years of his subsequent fame, when his public life was a
continual circus, and his flabbergasting turnout never
diminished.

Such was the energy that must have been at the root of the
resilience that kept him alive after the tragedy of Gala,
finally estranged, in her separate tower, and helped him to
survive so long the disastrous fire at the castle at Pubol
in August 1984.
---
Photos:  http://maxima.xl.pt/1204/md/esp/i/p182.jpg (w/Gala)

http://toutunfromage.canalblog.com/images/Dali_0012.jpg

http://img.slate.com/media/1/123125/123118/2111628/2114582/2114583/21...
---
Salvador Dali, Pioneer Surrealist, Dies At 84

FROM:  The New York Times (January 24th 1989) ~
By John Russell

Salvador Dali, pioneer of European Surrealism and for more
than half a century one of the best-known and most bitterly
contested figures in the international art world, died
yesterday at Figueras Hospital in Figueras, Spain. He was 84
years old.

The artist had been hospitalized for treatment of heart
problems three times since late November and had used a
wheelchair since suffering burns in a fire in his home in
1984.

Dali will have a permanent place in the history of art. When
still in his 20's, and in competition with some of the most
gifted artists of the day, he made an inventive and enduring
contribution to European Surrealism.

Max Ernst and Joan Miro - to name only two - were at the top
of their form at the end of the 1920's. But it was Salvador
Dali, with his meticulous and persuasive visions of a world
turned inside out, who brought home to the public at large
the full potential of Surrealism. More than anyone else, he
made his audience believe that nonsense could make the best
sense (and the most memorable sense, too).

Master of the Outrageous

As he grew older, Dali became known to an even larger public
as an inveterate irritant, a tease who never gave up teasing
and a prankster who made headlines for decades.

He was a master of what was once called ''the aristocratic
pleasure of displeasing,'' and it was a pleasure of which he
did not tire. With Luis Bunuel, he produced two Surrealist
films, ''Un Chien Andalou'' (1929) and ''L'Age d'Or''
(1931), which will live in the history of outrage.

But it was not in Dali's nature to play Gilbert to someone
else's Sullivan, and in general he liked to work on his own.
So successfully did he do so that by the end of his life
there was hardly a department of design he had not strayed
into, or a lucrative use for his name that he had not
explored. (This latter proclivity caused Andre Breton, the
self-appointed leader of the Surrealist movement, to
rearrange the letters of Salvador Dali to spell Avida
Dollars.) Despite his commercial activity, Dali never
stopped painting and drawing, and in 1980 the Pompidou
Center in Paris mounted a retrospective that included 168
paintings, 219 drawings, 38 objects, some 2,000 documents
and a specially built ''Dali environment.''

Dali also had the joy in his last years of seeing a Dali
Museum opened in Figueras, in northern Spain, just a few
miles from his home in the little seacoast village of Port
Lligat.

Salvador Dali was born in Figueras on May 11, 1904, the son
of Salvador Dali, a lawyer, and his wife, Felipa Dome
Domenech.

He showed a precocious gift for art, both in Figueras and at
the National School of Fine Arts in Madrid, where he began
his studies in 1921. He impressed immediately as one of
nature's winners: a student who could turn his hand to
anything and bring it off.

But he also impressed as a troublemaker. In 1924 he was
suspended for a year on suspicion of inciting the students
to revolution, and in May of that year he served brief
sentences in jail in Figueras and Gerona for antigovernment
activities. Welcomed back to school in Madrid in 1925, he
was expelled for good a year later after refusing to take an
examination in the history of art.

Meanwhile, his lifelong facility allowed him to paint and
draw in a wide variety of styles, both ancient and modern.

Dali's international career began in 1928, when he went to
Paris and was made welcome by Breton and the other members
of the Surrealist group. The group at that time was in need
of a recruit who could explore the labyrinth of the
unconscious and would not be deterred by Breton's
dictatorial ways. Dali went back to Spain and painted the
pictures that were to make him famous.

The best of these are as impressive today as they ever were.
Dali had a way of overturning reality that was not merely
whimsical. When he did strange things with the human body,
they were things that play upon people's most private fears
of illness and incapacity. When he did strange things with
objects, they were things that made those who saw them feel
that the world as they knew it had suddenly vanished. The
observer was adrift in nightmare, but the terms of that
nightmare corresponded to disquiets that most people prefer
not to admit to. The unconscious preyed on the conscious in
these early paintings of Dali's, as a tiger might play with
a fat white rabbit.

So it was not surprising that Dali returned to Paris as the
anointed favorite of Breton and the natural successor of
those earlier favorites who, like Ernst and Miro, had proved
too independent for the inner councils of the Surrealist
movement.

His first exhibition in Paris (at the Galerie Goemans in
1929) was as successful as anyone could have wished.

Unlike his predecessors in the Surrealist group, Dali
produced mirrorlike images that at first sight conformed
exactly to the conventions of traditional oil painting.

There was nothing he could not do in the way of exactitude:
When the occasion called for a representation of a
landscape, a seascape, a skyscape, a beautiful woman, a loaf
of bread or an expensive watch, he did it to perfection in a
style that was all reassurance. Only after a closer look did
it become clear that the watch had gone soft like overripe
Camembert, that very peculiar things were happening to the
beautiful woman, and that it would be a mistake to put too
much trust in the lyrical perfection of the land and the sea
and the sky.

Realism for the Unreal World

When Dali hallucinated in the late 1920's, the whole world
hallucinated with him, not least the Museum of Modern Art in
New York, where James Thrall Soby was later to say that Dali
had portrayed ''the unreal world with such extreme realism
that its truth and validity could no longer be questioned.''
Americans saw in Dali both a winner and a doer.

Where the other Surrealists remained essentially private
people, Dali was a born performer, a man who needed an
audience and responded to it. He found that audience in
America, and for many years he kept it impressed and amused.

He was a dreamer, but he dreamed for a particular reason. He
wanted, in his own words, to systematize confusion and to
discredit the world of everyday reality. He did this in his
paintings, but also in life.

Asked to lecture, he turned up in a diving bell and insisted
on speaking from inside it. Asked to contribute a
three-dimensional object to an exhibition, he sent along a
life-size taxicab inside which rain fell throughout the
duration of the show. He specialized in the poetics of
disquiet, and until well into the 1930's he produced idea
after idea that captured the popular imagination.

He had his first New York show at the Julien Levy Gallery in
1933, and from 1934 on he was a familiar figure in this
country.

He talked, he wrote, he perfected his public appearances,
and he had glamour of a kind that now has to be
manufactured. In his case it was an amalgam of mischief,
high spirits, idiosyncratic looks and an adman's instinct
for professional advantage. With his popping eyes, his
upturned and perfectly waxed mustache, his sober but
perfectionist taste in dress and his large collection of
canes, he was an unmistakable figure.

He went on painting pictures that pressed hard on the nerve
of their time. He was very good on sexual anxiety, for
instance. He was very good on the idea that civilization
might suddenly go to rot. And he was very good indeed on the
idea that war - civil war, above all - was the ultimate
pestilence and the irremediable crime against humanity.

It was possible to argue, as George Orwell argued in 1942,
that Dali's paintings ''are diseased and disgusting, and any
investigation ought to start out from that fact.''

Yet it can also be argued that at his best Dali wrote out a
declaration of independence for the human imagination in a
way that is still valid. His ''Soft Construction With Boiled
Beans - Premonition of Civil War'' of 1936 remains one of
the most extraordinary documents of its date, epitomizing
all the savagery of the imminent Spanish civil war.

But Dali was not always at his best, and in later years his
best became rare to the point of invisibility. Lucrative but
fatuous concerns took up much of his time. His nimble
intelligence seemed to whir in a vacuum. Where once his
fancies had had a universal application, they became more
and more a matter of merchandising, though Dali never ceased
to have a grandiose idea both of his stature among living
artists and of his mission as the redeemer of modern art.
(''At 45,'' he wrote in 1948, ''I want to paint a
masterpiece and save Modern Art from chaos.'') Dali Turns to
the Church Whereas in former years blasphemy had been high
on the list of his preferred instruments of terror, he
turned to the church in the late 1940's and began to treat
traditional religious subjects on a large-scale and with
dexterous attention to effects of perspective, lighting and
levitation.

These did not please critics and historians, but undeniably
they won him a large new public that asked for nothing
better than to see the events of the New Testament recorded
in Dali's blandest and newly saccharine style. His
''Crucifixion (Corpus Hypercubus)'' was given to the
Metropolitan Museum of Art by Chester Dale in 1955, and his
''Last Supper'' is in the National Gallery of Art in
Washington.

In August 1940, Dali moved to the United States, where he
put his manifold gifts to every conceivable advantage. He
turned up on Broadway, in Hollywood, in store after store on
Fifth Avenue and elsewhere. He designed for opera and dance.
But whereas in the 30's he had had both an intuitive
awareness of the way the world was going and the wit to say
something memorable about it, in later life Dali was the
prisoner of Dali.

He did not think so. Nor did the large public who followed
his activity closely. He gave interviews on every possible
occasion, and no audience was too silly or too small. He was
never at a loss for something startling to say, and quite
often there was just enough truth in what he said to make it
quotable.

''We Surrealists are not artists,'' he once said. ''Nor are
we really scientists. We are caviar, and caviar is the
extravagance and the very intelligence of taste.''

And again: ''The main idea of my collection,'' he said when
he went into fashion designing, ''is to do away with
breasts. Breasts are only in the way, no matter what the
situation. My solution will be to make women look like
angels. From now on, breasts will be worn in the back and
will be collapsible. With the aid of a helium tank, they
will rise when we wish them to do so.''

When asked for his opinions on art, Dali never failed to say
something outrageous. Nothing gave him greater pleasure than
to make mock of current orthodoxies.

''Cezanne is very popular at the moment,'' he said, ''but in
time to come Meissonier will sell for much, much more.
Cezanne's work is just so much caricature. He is the
clumsiest painter I have ever come across.''

''Well, there you are,'' he would say after an outburst of
that kind. ''You've got your money's worth. Time's up now.''

Inspiration From Science

As Dali saw it, he never stopped growing and experimenting.
In his last years he looked to science for fresh
inspiration, and while other famous artists were content to
repeat themselves, he worked with holograms, the
stereoscopic 3-D image and many another technical
innovation. If people found these experiments both empty and
overblown, he was ready to rebut them.

All his life he remained the man who once said: ''At 7, I
wanted to be Napoleon. My ambition has been growing steadily
ever since.''

Dali was married in 1935 to the former Elena Diaranoff,
universally known as Gala. She had previously been married
to the French poet Paul Eluard and had also had an
association with Max Ernst. There were no children of the
marriage, which was one to which Dali referred continually,
both in his work and in conversation, as an ideal union.
After her death in June 1982 at the age of 88, Dali spent
much of his time in a remote castle in Pubol, in Catalonia,
that he had given her some years earlier.

His last years were marked not only by failing health but
also by rumors and recriminations about the abuse of his
name, his signature and his artistic output. It was alleged
among other things that many thousands of sheets of paper
bore a legitimate Dali signature but were otherwise blank,
facilitating the addition of images that, whether or not by
Dali, would be worth a lot of money. On a good day, it was
said, Dali could sign 4,000 such sheets.

After quarreling in 1974 with Peter Moore, the Englishman
who for many years had managed his business affairs, Dali
fell into reputedly unscrupulous hands. His copyrights and
reproduction rights were said to have been sold on a
worldwide basis in ways that gave him no share in the
profits.

A. Reynolds Morse of Cleveland, for many years a friend of
Dali and a collector of his work, formed an organization
called Friends to Save Dali in 1980. Mr. Morse said that
thanks to ''untender care'' by Dali's wife and to the
''terroristic methods'' of his Spanish business manager and
former secretary and bodyguard, Enrique Sabater, Dali was
being defrauded of much of his income.

An Apotheosis at the End

Never one to give in easily either to misfortune or to
infirmity, Dali issued a statement to the press in March
1981 that began: ''I declare that for several years, and
above all since my sickness, my confidence has been abused
in many ways and my wishes have not been respected.''

Though much trivial or inauthentic work still bears his
signature, Dali toward the end of his life enjoyed something
of an apotheosis in his native Spain, thanks both to the
friendly concern of the Spanish royal family and to the
success in 1983 of a major Dali retrospective at the Museum
of Contemporary Art in Madrid.

In his prime, Dali was not only an artist of intermittent
substance but also a man whose wit, style, panache and
readiness to take on all comers in conversation added to the
gaiety of more than one capital city. To the day he died he
was - as he would have wished to be - a subject of
controversy, though in recent years the controversy had more
to do with the activities of his associates than with
creative powers that had subsided long ago.
---
The art of Salvador Dali:  http://artamerica.com/a4s/dal-lin1.jpg

http://www.tate.org.uk/collection/T/T01/T01978_9.jpg

http://www.artcyclopedia.com/images/PhilMusArt-Dali-Figure.jpg

http://www.chubber.net/images/the-ascension-of-christ-1958.jpg

http://www.worth1000.com/entries/106000/106238XDfc_w.jpg

http://www.artsnotdead.com/artjpgs/daliboiledbean.jpg

http://www.revilo-oliver.com/Kevin-Strom-personal/Art/Dali_CorpusHype...

http://docentes.uacj.mx/fgomez/museoglobal/images_2004/D_1/Dalí/Salvador%20Dali%20Swans%20Reflecting%20Elephants.jpg

http://everywitchway.net/personal/images/burning_giraffe.jpg

http://www.globalgallery.com/images/eg-1200-13333.jpg

http://www.andriaroberto.com/Salvador%20Dali%20-%20Galatea%20Of%20The...

http://www.consciencia.org/imagens/banco/Dali/pic06.jpg

http://www.artsforge.com/agallery/weanfurn.jpg

http://www.poster.net/dali-salvador/dali-salvador-salvador-dali-42005...

http://www.revilo-oliver.com/Kevin-Strom-personal/Art/Dali_DreamofChr...

http://www.focusmag.gr/id/files/128683/Allegorie%20de%20Soie%20Salvad...

http://users.telenet.be/antoon.soens/images/don-quijote-door-salvador...

http://boes.org/urgent/images/art5_360.jpg

http://www.1st-art-gallery.com/artists/dali/dali_the_enigma_of_hitler...