Dali
St. Chaos Israel
<saur...@weinerschnitzel.com> wrote:
> I went to a Dali exhibit today, 60 works, about half I'd not
seen before.
>[...]
>"Portrait of a Nineteen Year Old Virgin Autosodomized by Her
Own Chastity"
If that's a real Dali title, then I'm sold...
</CLAYTON>
* Sent from RemarQ http://www.remarq.com The Internet's Discussion Network *
The fastest and easiest way to search and participate in Usenet - Free!
König Prüß, GmbH
"The Disappearing Bust of Voltaire" was fun. They didn't have
"Soft Construction with Boiled Beans-Premonition of Civil War" There were
a couple of stereo paintings, big twin jobbies, with special mirrors set up to view them.
60 Dali's sounds like a lot of Dali, but it was a small exhibit for all that.
mykal d'archangel
<saur...@weinerschnitzel.com> put forth:
>St. Chaos Israel escrivened:
>
>>In article <8h7cro$kjb$1...@supernews.com>, König Prüß, GmbH
>><saur...@weinerschnitzel.com> wrote:
>>> I went to a Dali exhibit today, 60 works, about half I'd not
>>seen before.
>>>[...]
>>>"Portrait of a Nineteen Year Old Virgin Autosodomized by Her
>>Own Chastity"
>>
>>If that's a real Dali title, then I'm sold...
>>
>
>See-
>http://www.artchive.com/artchive/D/dali/chastity.jpg.html
I absolutely love that painting. Fantastic!
Anyone ever notice how much Dali and Stang look *alike*?
m d'a
Official YuppieGoth
http://www.shadowsfall.net
bubbleghost
<saur...@weinerschnitzel.com> scrawled upon the shithouse wall that
is usenet '
<snip>
>60 Dali's sounds like a lot of Dali, but it was a small exhibit for all that.
I've always said you can never, ever have TOO much Dali
whyaskwhyaskwhy
<König Prüß>; "GmbH" <saur...@weinerschnitzel.com> wrote in message
news:8h7cro$kjb$1...@supernews.com...
> I went to a Dali exhibit today, 60 works, about half I'd not seen before.
> "The Disappearing Bust of Voltaire" was fun. They didn't have
> "Soft Construction with Boiled Beans-Premonition of Civil War" There were
> a couple of stereo paintings, big twin jobbies, with special mirrors set
up to view them.
that.
>
Where's it at? How long is it going to be there?
König Prüß, GmbH
HIRSHHORN MUSEUM IN WASHINGTON, D.C. TO HOST
"DALÍ’S OPTICAL ILLUSIONS" APRIL 19 - JUNE 18
"Dalí’s Optical Illusions," the first full-fledged American exhibition in several
decades to feature the work of Spanish Surrealist Salvador Dalí (1904-1989), opens
on Wednesday, April 19, at the Smithsonian’s Hirshhorn Museum and Sculpture
Garden, Independence Avenue at Seventh Street S.W. The show continues through
Sunday, June 18.
Admission to the exhibition, which is free and for which no tickets are required, is
via a "Dalí" entrance on the plaza side of the museum’s lobby. Entry will be on a
first-come, first-served basis from 10 a.m. until 5:30 p.m. seven days a week, and to
8 p.m. on Thursdays, June 1, 8 and 15. For recorded information and updates, please
call (202)786-2122.
Salvador Dalí, whose revolutionary and iconoclastic approach, virtuoso
draftsmanship and personal flamboyance brought him wide popularity, produced
some of the 20th century’s most stimulating visualizations of the subconscious, or
"dreamscapes," as he called them. The exhibition, organized and first presented this
past winter by the Wadsworth Atheneum in Hartford, Conn., brings together more
than 60 examples -- rarely seen and emblematic paintings as well as drawings, two
sculptures, a hologram and personal ephemera -- spanning Dalí’s career from 1926
to 1983.
The exhibition, as conceived and developed by guest curator Dawn Ades, a leading
British scholar of Surrealism, focuses on Dalí’s use of science-based principles to
introduce disjunction, multiplicity and pictorial surprise into his work.
Throughout his career, Dalí possessed "an omnivorous and eclectic curiosity about
contemporary science," writes Ades in the exhibition catalog. "His desire to give
substance to [his] phantoms led to one of the most sustained investigations into the
relationship between vision, perception and representation of the century."
At 12:30 p.m. on the exhibition’s opening date, Ades will present a free,
slide-illustrated lecture, "Dalí’s Optical Illusions," in the Hirshhorn’s Ring
Auditorium.
A Catalan who joined the Surrealist movement in Paris in the late 1920s, Dalí
eschewed visualizing the subconscious with color patches, free-flowing lines and
organic forms -- the approach of the "automatist" camp of Surrealists -- in favor of
vivid depiction. Optical illusions were his chief tools.
Installed chronologically, the exhibit follows Dalí’s search to put "the reality of the
external world . . . at the service of the mind," as he put it. The earliest paintings use
snapshot candidness, collaged elements and oblique perspective to create dreamlike
tableaux echoing photography and film -- media that Dalí felt captured "the most
delicate osmoses which exist between reality and surreality."
One of Dalí’s short films made with fellow Surrealist Luis Buñuel in 1929, "An
Andalusian Dog," will be shown free at noon on two Thursdays, April 20 and 27, in
the Ring Auditorium.
Dalí’s arsenal of technical and optical methods grew and intermingled as his style
matured. By manipulating scale and vanishing points, he could merge horizon, sky
and earth. He also employed "anamorphosis" (first used by 16th-century painters), in
which viewing an artwork at an oblique angle reveals a second image. And he studied
Giuseppe Arcimboldo’s visionary Renaissance paintings of organic matter doubling
as faces and figures.
Sigmund Freud’s theories, meanwhile, introduced Dalí to the notion that "an
obsessive idea" could be "valid for others," resulting in his "paranoiac critical
method" of multiple, hallucinatory images within a single painting. Among such
works on view are "The Invisible Man," 1929-1932, in which a classical landscape of
ruins, statues, a fountain and arcaded buildings suddenly resembles a seated male
figure, and "Apparition of Face and Fruit Dish on a Beach," 1938, a haunting,
ever-changing vision of still-life, portraiture and landscape that reveals, among other
surprise images, a monumental dog and the face of Dalí’s close friend, the poet
Federico García-Lorca, murdered by Fascists a few years before.
Dalí’s allegorical "Soft Construction with Boiled Beans -- Premonition of Civil
War," 1936,
with its signature monstrous, humanoid forms, represents Spain in "a delirium of
auto-strangulation," as the artist put it. That same year he created "Venus de Milo
with Drawers," turning the famous ancient icon of female beauty into a deadpan
"Surrealist object" of nonfunctioning furniture with pom-poms.
Fleeing his homeland, Dalí traveled in Europe accompanied by his muse and wife,
Gala, until 1940, when the German invasion of France caused the couple to take
refuge in the United States. There Dalí completed the dream sequence for Alfred
Hitchcock’s 1945 film "Spellbound," for which a related painting is on view.
Re-settling in Spain in 1948, Dalí renewed his interest in optical effects while
probing traditional subjects. In interpretations of the Madonna, Crucifixion, and
Ascension painted between 1949 and 1958, he floated and fractured the figures in
exaggerated perspective. The discoveries of particle physics and atomic energy
influenced "Portrait of My Dead Brother," 1963, in which a dematerialized "dot"
pattern renders a face. The work also nods to 19th-century Pointillism and
20th-century Pop Art.
Stereoscopy, a 19th-century photographic technique in which pairs of nearly
identical compositions viewed at a certain distance simulate 3-D, interested Dalí in
the 1970s, as did newer technology. The 1973-1974 "Dalí Painting Gala," a slowly
rotating, drum-shaped holograph, is a dazzlingly believable studio vignette in
dollhouse scale. Variations on the "double image" occupied the artist into the 1980s.
In 1989, the enfeebled Dalí, who continued to be saddened by Gala’s death a few
years before, died at 85.
Public programs for the Dalí show include early morning tours -- by reservation
only -- at 9 and 9:30 a.m. daily, except on Sundays. Please call (202) 357-3235 to
reserve space.
The exhibition catalog ($24.95 softcover/$45 hardbound), published by the
Wadsworth Atheneum in association with Yale University Press, includes essays by
former Wadsworth director Peter C. Sutton and curator Eric Zafran, along with guest
curator Ades’s contribution, as well as an interview with Antonio Pixtot, Director of
the Teatro Museo Dalí in the artist’s hometown of Figueres, Spain.
The Fundació Gala-Salvador Dalí in Figueres, the Salvador Dali Museum in St.
Petersburg, Fla., and 15 other museums internationally, including the Hirshhorn,
have loaned works to the exhibition, which also draws from several private
collections. After closing in Washington, the show will travel to Scotland for its
final presentation July 23-Oct. 1, at the Scottish National Gallery of Modern Art in
Edinburgh.
The exhibition is supported by an indemnity from the Federal Council on the Arts
and Humanities and in Washington by the Holenia Exhibition Fund in memory of
Joseph H. Hirshhorn (1899-1981).
# # # #
Popess Lilith von Fraumench
Israel <chaisrN...@hotmail.com.invalid> wrote:
> In article <8h7cro$kjb$1...@supernews.com>, König Prüß, GmbH
> <saur...@weinerschnitzel.com> wrote:
> > I went to a Dali exhibit today, 60 works, about half I'd not
> seen before.
> >[...]
> >"Portrait of a Nineteen Year Old Virgin Autosodomized by Her
> Own Chastity"
>
> If that's a real Dali title, then I'm sold...
http://www.barewalls.com/cgi-bin/clientdetails.exe?ItemID=5605&zoom=1
The Prophet Lilith
--
=====Her Ladyship Rev Dkr St Popess Lilith von Fraumench, Esquire=====
===Prophet--Devivor--Corrective Phrenologist--XXX-Day Stage Manager===
==c/o SSUCC--916 NE 65th #369--Seattle WA 98115--ssucc.ragnarokr.com==
==Inside the heart of every genius lurks a tard yearning to be free.==