The Surrealism of Salvador Dali - Essay Example

217948_8 The Surrealism of Salvador Dali Introduction The surrealist movement is an evolution of the First World War period Dadaism (Tythacott, L., 2002, p. 19). It is more than an avant-garde movement in art; it is a frame of mind (Tythacott, 2002, p. 19). The goal of the early surrealists was to create a different way in which to understand the world around the artist (Tythacott, 2002, p. 19). Louise Tythacott (2002) holds that Dadaism and its offspring, surrealism, are a religion that has a code of behavior and celebrates their unique understanding and doctrine as a community (p. 19). Tythacott says that, like Christianity, surrealism is centralized, fervent and somewhat nomadic (p. 19). Wallace Fowlie’s (1950) comments are much akin to those of Tythacott, and he says that surrealism was movement, but much more (p. 1950). Fowlie says that surrealism is a philosophy, which gives it a more profound meaning than to understand it simply as a movement or a community of like-mindedness. Understanding the doctrine and philosophy of surrealism does in fact lend some insight into understanding the surrealism of the individual artist, like Salvador Dali. Focusing on the work of Salvador Dali, this essay will explore the works of Dali from the surrealists’ perspective, or the centralized perspective and the profound philosophy about which Tythacott and Fowlie speak of. Salvador Dali’s Surrealism Surrealism was born in the period between World War I and World War II, 1919-1939 (Fowlie, 1950, p. 11). When we look at Dal’s work during this period, we can see the beginning of a thoughtful contemplation on surrealism. One of the most convenient places to readily access Dali’s body of work is the online site called Virtual Dali, found at http://www.virtualdali.com/#galleryEarly1. At this web site one can access the works through the organized periods of the artist’s work: 1910-1927; 1928-1935; 1935-1940; 1941-1951; 1951-1959; 1960-1972; 1972-1983. So when we say that the period to 1919-1939 reflected a thoughtfulness on the subject of surrealism, it was perhaps because many of the works from that period are portraiture that appears caught between cubism – introduced by Pablo Picaso between 1907-1914 - and surrealism, although some of the themes that we see in works like Saltimbanques (1921) has some of the recurring elements that we find in later Dali surrealism. In Saltimbanques we see familiar figures from later works in familiar poses, but not in the state of surrounding surrealism. Still, it was clear that surrealism was on Dali’s mind, and if a community was represented by surrealism, a philosophy, then these early works demonstrates that Salvador Dali was leaning towards the surrealist community, exploring his own like-mindedness with the community. Pierrot Playing the Guitar (1925) is almost as if the artist is still mired in the muck between cubism and what would become his own specialty in surrealism. Dali would, of course, come to own the conception of surrealism. His name and the very word would be synonymous in the minds of art enthusiasts in a way that no other artist would be. In the 1928-1935 period Dali has made a noticeable transition to full surrealism, and has taken command of its philosophy. In Inaugural Gooseflesh (1928), we see the signature Daliism in surrealism. In the right-hand upper area of the painting we can see the human form, and arteries obliterating the dotted lines within which humanity moves obliterating those dotted lines. The water molecules, perhaps representing much of what mankind is made of, are bloated bubbles like might been if looking at blood cells through a microscope. It is difficult to tell exactly what Dali might have been thinking; except that he was thinking of humankind, and, if the title of the work is any suggestion, and given the year, a newly elected president or political body. In these early years where Dali was finding his expression in surrealism, there remains, upon close examination of the work, a disconnect, an awkward poetry, which Andre Breton is credited with talking about as regards early surrealism; as opposed to the exploration of the realms of the human psyche that would come to define surrealism (Matthews, J.H., 1977, p. 1). In these early works, we see Dali moving towards that exploration of his own psyche, and, in some instances, such as the Putrefied Donkey (1928), exploring his observations of the psyche of others. Interpretation of Surrealism For some art enthusiasts, trained interpretation poses a problem, because it leads the enthusiast to accept the conclusions of others as to how a work of art should connect with them, or be perceived by the viewer. However, in an effort to understand surrealists, and especially Dali, and because surrealism was, and still is, a community of like-mindedness, it becomes necessary to understand what academics say about its interpretation. R.J. Matthews (1977) quotes the well known surrealist, Andre Benton, as saying: “. . .the poetic step par excellence reverses the process by which comprehension normally dawns in our minds and appreciation takes shape. In surrealism, it treats nature -- external reality, that is -- in relation to the inner world of consciousness (p. 225).” Benton’s observation causes Matthews to question, “How then are we to respond to surrealist revelation, supposing lucidity to be for all true surrealists what it was for Breton, "the great enemy of revelation (p. 225)"? One response to Matthews’ question might be that if we explore the human psyche, it is a free-spirit kind of exploration; it is investigating the dark corners of the human mind, the glowing sun spots, and the gray matter with microscopic intensity. The perception this creates that the inner circle of surrealists that they were privy to something that non-surrealists were not, is false, as demonstrated by Matthews, who writes: “The impression often gained from looking at surrealism from the outside is that of a closed circle of individuals, well content to exclude from appreciation and enjoyment of their activities anyone they have not seen fit to grant the privilege of initiation. If the creative surrealist benefits fully from listening "in the dark wings of being," as Breton loftily put it, then how are the rest of us to react to what he later reports back to us (p. 225).” Dali’s 1930 The Hand, shows that Dali was still, to some extent, still absorbed by politics. The man sitting on a throne-like structure with his larger than life hand out as the little ones below , in some instances, scurry and scramble about, while still others bolster one another, or they look on in a seemingly lethargic state. Behind the overpowering male entity, is a woman, her face showing an ignorant bliss, faced turned away from the benefactor, although her hair blows in that direction showing that she is not just going along with the ride, she is enjoying, all the while feigning ignorance as to the pilfering by the benefactor. The colors in this painting, and others of the period, are industrial, which perhaps shows Dali’s pre-occupation with the industrialization of the world and the power mongers it bred. Matthews quotes Breton, quoting Dali’s closing lines of his L’Ane pourrisant as saying: “The ideal images of surrealism will serve the imminent crisis of consciousness: they will serve Revolution." Indeed, the special interest offered surrealists during the thirties by Dalís celebrated paranoiac-critical method lay in its subjection of outer reality to the inner necessity experienced by the artist. For paranoia, as understood by Salvador Dali, "uses the external world in order to assert its dominating idea and has the disturbing characteristic of making others accept this ideas reality." In this way, the reality of the outer world "is used for illustration and proof, and so comes to serve the reality of our mind" (p. 98). Hence Dalés much publicized double images were obtained in a manner he termed "clearly paranoiac (pp. 52-54)." These thoughts are seen in the Archeological Reminiscence of Millet’s Angelus (1935). In this work there is the typical early surrealism sense of industrialization in the vast color tones and the sense of emptiness amidst the ruins. This seeming desert view is because of the innerness of the concept that arises deep within Dali’s innermost thoughts. He has gone to the dimension of inner mind, and there he explores his paranoia: industrialization, government, power, and control over the lesser. In the works mentioned here, we have not yet explored Dali’s sense of self or religion. That is because Dali was probably under the influence of the leaders of surrealism, and had not really given his thinking over to his own inner inhibitions or deep feelings. Matthews writes: “Although his use of the word "paranoia" was typically provocative, Dali was behaving in conformity with surrealist directives. The paranoiac-critical method stands for something of more lasting significance than Daliesque self-advertisement. Three decades later, Jean Schuster commented on the diversity of methods practiced within the surrealist movement as indicative of an aspect of surrealism which must persuade any critic of good faith that he is not dealing with a school of painting or poetry. Schuster went on to insist: "The common link in all surrealist creations lies in the very method that consists in granting mental representation free play by releasing it, as broadly as possible, from physical perception. The inner model, then, cannot but take on the appearance of the unique, move about in a unique light and set up with the spectator (or reader) a unique communication." 10 The persistent influence of Bretons thinking is easy to detect here. For surrealists never cease to stress, as he did in "Situation surréaliste de lobjet," "the inner representation of the image present in the mind" (p. 311) (Matthews, 1977, p. 54).” As we move into Dali’s work from 1941-1951, we begin to see the emergence of the artist’s own world, and this is perhaps the beginning of some of his best work. That might because he is now working from inside himself on that which is closet to him, and he knows it well. This period does reflect an intimacy, a closeness that suggests it is of and about the artist himself. This period reflects what Celia Rabinovitch (2002) quotes the surrealist Paalen as describing (about himself) this way: “I believe we can reach a new degree of consciousness which beyond all theologies is religious in quality and scientific in method. Art is an instrumental means to reach this state. I consider my paintings as a first ideography of this new consciousness." Paalens emphasis on art to achieve a visionary "state of mind" exemplifies surrealisms pursuit of a radical change in consciousness through art (p. 112).” The Eye (1945), is perhaps an insight into Dali’s self, because it brings the lanes of distinction, the parameters within which mankind moves and that were also used in his earlier works, into a new era of brighter color, less industrialized, a more internalized reflection of perhaps self in place and time. In the 1952 Galatea of the Spheres, there is the sense that Dali is being retrospective, summing up perhaps the many dimensions he has explored in the space and time of his psyche. There is the motion of the orbits of the spheres that convey a sense of passing and time that cannot be recaptured, and that it all gets away so fast. The face of the figure has closed eyes, a surrender of sorts, and for this period in Dali’s life it is perhaps his own surrender, not a discontent one because there is, too, the relaxed sense not of giving up, but giving in to the greater forces that move us. Even in the simplicity of a vase of flowers, The Vase of Corn Flowers (1959), there is a sense that Dali has moved on in his life towards that place where he finds comfort and contentment. The blue colors are light, not dark and moody or depressed. There is a sense of awareness in the work, although the glass vase sits upon a pewter platter, there is nonetheless the sense optimism and anticipation that comes through in the light and texture of the water through the “body” of the glass vase. And then these brilliant, yet not overwhelming, blue corn flowers on their light green stems; it is a magnificent introspective expression in surrealism. In the later works, 1972-1983, it is difficult not to wonder whether or not Dali was in fact getting in touch with his mortality. The Warrior (1982), is perhaps the artist’s testament to all that he has seen and experienced in his life, and it is reflected in the eyes of the warrior. Is there not the slightest hint of wonder, even rapture, on the face of the armored warrior? The colors in the work are not as numerous or as brilliant as they had been in the later part of the 20th century, but there remained the lightness, the sense of optimism and curiosity. It probably possible to explore in much greater length and detail these works and the many others by Salvador Dali; however, for purposes of understanding the “philosophy” of surrealism, it is summed up in the work of this single artist. Surrealism, then, is the exploration of those places where man can only connect internally, on a psychological level, and what is to be found there, or unleashed there as the case may be, is, as Dali has been described, scatological (Rabinovitch, 2002, p. 157), but the expression and certainly the interpretation remains timeless, interesting, intriguing and incredibly fun. Works Cited Fowlie, Wallace. Age of Surrealism. New York: Swallow Press, 1950. Questia. 8 Apr. 2008 . Matthews, J. H. The Imagery of Surrealism. 1st ed. Syracuse, NY: Syracuse University Press, 1977. Questia. 8 Apr. 2008 . Rabinovitch, Celia. Surrealism and the Sacred: Power, Eros, and the Occult in Modern Art. Boulder, CO: Westview Press, 2002. Questia. 8 Apr. 2008 . Salvador Dali Society, ‘Virtual Dali’, 2008, found online at http://www.virtualdali.com/#gallerySurreal1, retrieved 8 Apr. 2008. Tythacott, Louise. Surrealism and the Exotic. London: Routledge, 2002. Questia. 8 Apr. 2008 . Read More