Editing Salvador Dalí (section)

== Endeavors outside painting ==
Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theater, fashion, and photography, among other areas.

=== Sculptures and other objects ===
From the early 1930s, Dalí was an enthusiastic proponent of the proliferation of three-dimensional Surrealist Objects to subvert perceptions of conventional reality, writing: "museums will fast fill with objects whose uselessness, size and crowding will necessitate the construction, in deserts, of special towers to contain them."<ref>Gibson, Ian (1997), pp. 289–93</ref> His more notable early objects include ''Board of Demented Associations'' (1930–31), ''Retrospective Bust of a Woman'' (1933), ''Venus de Milo with Chest of Drawers'' (1936) and ''Aphrodisiac Dinner Jacket'' (1936). Two of the most popular objects of the Surrealist movement were ''[[Lobster Telephone]]'' (1936) and ''[[Mae West Lips Sofa]]'' (1937) which were commissioned by art patron [[Edward James]].<ref name="natgalaust">[http://www.nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607 Lobster telephone] {{Webarchive|url=https://web.archive.org/web/20210723233243/https://nga.gov.au/international/catalogue/detail.cfm?IRN=2607 |date=23 July 2021 }}. ''National Gallery of Australia''. Retrieved on 4 August 2006.</ref> Lobsters and telephones had strong sexual connotations for Dalí who drew a close analogy between food and sex.<ref name="tate">[http://www.tate.org.uk/servlet/ViewWork?workid=2988 Tate Collection | Lobster Telephone by Salvador Dalí] {{Webarchive|url=https://web.archive.org/web/20111009112103/http://www.tate.org.uk/servlet/ViewWork?workid=2988 |date=9 October 2011 }}. ''Tate Online''. Retrieved on 4 August 2006.</ref> The telephone was functional, and James purchased four of them from Dalí to replace the phones in his home. The ''Mae West Lips Sofa'' was shaped after the lips of actress Mae West, who was previously the subject of Dalí's watercolor, ''The Face of Mae West which may be used as a Surrealist Apartment (1934–35)''.<ref name="natgalaust" />  In December 1936 Dalí sent Harpo Marx a Christmas present of a harp with barbed-wire strings.<ref>Gibson, Ian (1997), p. 370</ref>

[[File:Dali Sundial in Paris.jpg|thumb|A sundial painted by Dalí, 27 [[Rue Saint-Jacques, Paris]]]]
After World War II Dalí authorized many sculptures derived from his most famous works and images. In his later years other sculptures also appeared, often in large editions, whose authenticity has sometimes been questioned.<ref>{{Cite web|url=https://www.artnews.com/art-news/news/the-dali-sculpture-mess-211/|title=The Dali Sculpture Mess|last=Peterson|first=Than|date=1 December 2008|website=Art News|access-date=2 April 2020|archive-date=7 August 2020|archive-url=https://web.archive.org/web/20200807012452/https://www.artnews.com/art-news/news/the-dali-sculpture-mess-211/|url-status=live}}</ref>

Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry, many of which are intricate, some containing moving parts. The most famous assemblage, ''The Royal Heart'', is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, created in such a way that the center "beats" like a heart.<ref>Owen Cheatham Foundation. ''Dalí, a study of his art-in-jewels: the collection of the Owen Cheatham Foundation''. New York: New York Graphic Society. 1959. p. 14.</ref>

Dalí ventured into industrial design in the 1970s with a 500-piece run of ''Suomi'' tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's "Studio Linie".<ref>{{cite journal | title = Faenza-Goldmedaille für SUOMI | journal=Artis | year = 1976 | volume = 29 | page = 8| issn = 0004-3842}}</ref>  In 1969 he designed the [[Chupa Chups]] logo.<ref>{{cite journal|last=H. Vázquez|first=Carlos|date=2 July 2015|title=Cuando Dalí reinventó Chupa Chups|url=http://forbes.es/business/7188/cuando-dali-reinvento-chupa-chups/|journal=[[Forbes]]|language=es|access-date=17 March 2018|archive-date=4 June 2019|archive-url=https://web.archive.org/web/20190604112133/http://forbes.es/business/7188/cuando-dali-reinvento-chupa-chups/|url-status=live}}</ref> He facilitated the design of the advertising campaign for the [[Eurovision Song Contest 1969|1969 Eurovision Song Contest]] and created a large on-stage metal sculpture that stood at the [[Teatro Real]] in Madrid.<ref>{{cite journal|last=Calandria|first=Juan|date=29 March 2017|title=Madrid acoge el festival de Eurovisión de 1969|url=http://eurovisionplanet.com/madrid-acoge-el-festival-de-eurovision-de-1969|journal=Eurovision Planet|language=es|access-date=17 March 2018|archive-date=17 March 2018|archive-url=https://web.archive.org/web/20180317232657/http://eurovisionplanet.com/madrid-acoge-el-festival-de-eurovision-de-1969|url-status=live}}</ref><ref>{{cite journal|author=Jacques|date=26 April 2009|title=40 años de Eurovisión 1969 – Segunda parte: Canciones 1–5|url=http://olevision.com/2009/04/40-anos-de-eurovision-1969-segunda-parte-canciones-1-5/|journal=Ole Vision|language=es|access-date=17 March 2018|archive-date=17 March 2018|archive-url=https://web.archive.org/web/20180317232704/http://olevision.com/2009/04/40-anos-de-eurovision-1969-segunda-parte-canciones-1-5/|url-status=live}}</ref>

=== Theater and film ===
In theater, Dalí designed the scenery for [[Federico García Lorca]]'s 1927 romantic play ''[[Mariana Pineda (play)|Mariana Pineda]]''.<ref>{{cite web|url=http://www.kirjasto.sci.fi/fglorca.htm |title=Federico García Lorca |website=Books and Writers (kirjasto.sci.fi) |first=Petri |last=Liukkonen |publisher=[[Kuusankoski]] Public Library |location=Finland |archive-url=https://web.archive.org/web/20150210175324/http://www.kirjasto.sci.fi/fglorca.htm |archive-date=10 February 2015 |url-status=dead }}</ref> For ''[[Bacchanale]]'' (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera ''Tannhäuser'', Dalí provided both the set design and the libretto.<ref>Gibson, Ian (1997) pp. 385, 398–99</ref> He executed designs for a number of other ballets including ''Labyrinth'' (1942), ''Sentimental Colloquy'', ''Mad Tristan'', ''The Cafe of Chinitas'' (all 1944) and ''[[The Three-Cornered Hat]]''  (1949).<ref>{{cite web |url=http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html |title=Past Exhibitions |archive-url=https://web.archive.org/web/20060903014732/http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html |archive-date=3 September 2006 |work=[[Haggerty Museum of Art]] |access-date=8 August 2006 |publisher=[[Marquette University]]}}</ref><ref name=":1" />

[[File:Un Chien Andalou (1929).webm|thumb|thumbtime=5|left|''[[Un Chien Andalou]]'' (1929), a collaboration with [[Luis Buñuel]]]]
Dalí became interested in film when he was young, going to the theater most Sundays.<ref>"Dalí & Film"  Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.</ref> By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"<ref>Gibson, Ian (1997) p. 174</ref> and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short ''[[Un Chien Andalou]]'' (1929) and the feature film ''[[L'Age d'Or]]'' (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of ''Un Chien Andalou'', but there is controversy over the extent of Dalí's contribution to ''L'Age d'Or''.<ref>Gibson, Ian (1997) pp. 248–49</ref> ''Un Chien Andalou'' features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality.<ref>Eberwein, Robert T. (2014). ''[https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83 Film and the Dream Screen: A Sleep and a Forgetting] {{Webarchive|url=https://web.archive.org/web/20200217091955/https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83&dq= |date=17 February 2020 }}''. Princeton University Press. p. 83. {{ISBN|1-4008-5389-3}}.</ref> ''L'Age d'Or'' is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown.<ref>Gibson, Ian (1997), pp. 267–74</ref> Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "If Un Chien Andalou stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then L'Âge d'Or is perhaps the most trenchant and implacable expression of its revolutionary intent."<ref>Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.</ref>

After he collaborated with Buñuel, Dalí worked on several unrealized film projects including a published script for a film, ''Babaouo'' (1932); a scenario for [[Harpo Marx]] called ''Giraffes on Horseback Salad'' (1937); and an abandoned dream sequence for the film ''Moontide'' (1942).<ref>"Dali: Painting and Film," Press release, Museum of Modern Art, June 2008</ref> In 1945 Dalí created the dream sequence in Hitchcock's ''[[Spellbound (1945 film)|Spellbound]]'', but neither Dalí nor the director was satisfied with the result.<ref>Gibson, Ian (1997) pp. 434–35</ref> Dalí also worked with [[Walt Disney]] and animator [[John Hench]] on the short film ''[[Destino]]'' in 1946.<ref name=":3" /> After initially being abandoned, the animated film was completed in 2003 by Baker Bloodworth and Walt Disney's nephew [[Roy E. Disney]]. Between 1954 and 1961 Dalí worked with photographer [[Robert Descharnes]] on ''The Prodigious History of the Lacemaker and the Rhinoceros'', but the film was never completed.<ref>Gibson, Ian (1997) p. 479</ref>

In the 1960s Dalí worked with some directors on documentary and performance films including with [[Philippe Halsman]] on ''Chaos and Creation'' (1960), [[Jack Bond (director)|Jack Bond]] on ''Dalí in New York'' (1966) and [[Jean-Christophe Averty]] on ''Soft Self-Portrait of Salvador Dalí'' (1966).<ref>Gibson, Ian (1997), pp. 519, 726</ref>

Dalí collaborated with director José-Montes Baquer on the pseudo-documentary film ''Impressions of Upper Mongolia'' (1975), in which Dalí narrates a story about an expedition in search of giant hallucinogenic mushrooms.<ref>Elliott H. King, [http://www.kamera.co.uk/article.php/895 ''Dalí, Surrealism, and Cinema''] {{Webarchive|url=https://web.archive.org/web/20070621210510/http://www.kamera.co.uk/article.php/895 |date=21 June 2007 }}, Kamera Books 2007, p. 169.</ref> In the mid-1970s film director [[Alejandro Jodorowsky]] initially cast Dalí in the role of the Padishah Emperor in a production of ''Dune'', based on the novel by Frank Herbert. However, Jodorowsky changed his mind after Dalí publicly supported the execution of alleged ETA terrorists in December 1975. The film was ultimately never made.<ref>Gibson, Ian (1997) p. 562</ref><ref>{{cite web|url=http://jodorowskysdune.com/synopsis.html|title=Jodorowsky's Dune – Official Website of the Documentary – Synopsis|work=jodorowskysdune.com|url-status=dead|archive-url=https://web.archive.org/web/20150217071152/http://jodorowskysdune.com/synopsis.html|archive-date=17 February 2015|access-date=14 February 2015}}</ref>

In 1972 Dalí began to write the scenario for an opera-poem called ''[[Être Dieu]]'' ([https://web.archive.org/web/20140802151038/http://www.salvadorbrand.com/Salvador-Brand/opera.html ''To Be God'']). The Spanish writer [[Manuel Vázquez Montalbán]] wrote the libretto and [[Igor Wakhévitch]] the music. The opera poem was recorded in Paris in 1974 with Dalí in the role of the protagonist.<ref>Gibson, Ian (1997) pp. 556–557</ref>

=== Fashion and photography ===
[[File:Salvador Dali A (Dali Atomicus) 09633u.jpg|thumb|'' Dalí Atomicus'', photo by [[Philippe Halsman]] (1948), shown before support wires were removed from the image]]
Fashion designer [[Elsa Schiaparelli]] worked with Dalí from the 1930s and commissioned him to produce a [[Lobster dress|white dress with a lobster print]]. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. In 1950, Dalí created a special "costume for the year 2045" with Christian Dior.<ref name="designs">[http://www.designws.com/pagina/1dalieng.htm Dalí Rotterdam Museum Boijmans] {{Webarchive|url=https://web.archive.org/web/20061022112905/http://www.designws.com/pagina/1dalieng.htm |date=22 October 2006 }}. ''Paris Contemporary Designs''. Retrieved on 8 August 2006.</ref>

Photographers with whom he collaborated include [[Man Ray]], [[Brassaï]], [[Cecil Beaton]], and [[Philippe Halsman]]. Halsman produced the ''Dalí Atomica'' series (1948)&nbsp;–  inspired by Dalí's painting ''Leda Atomica''&nbsp;&nbsp;–  which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air".<ref name="designs" />

=== Architecture ===
[[File:Dali museum.jpg|thumb|[[Dalí Theatre and Museum|Dalí Theatre-Museum]] in [[Figueres]] also holds the crypt where Dalí is buried]]
Dalí's architectural achievements include his [[Port Lligat]] house near [[Cadaqués]], as well as his Theatre Museum in [[Figueres]]. A major work outside of Spain was the temporary ''Dream of Venus'' Surrealist pavilion at the 1939 New York World's Fair, which contained several unusual sculptures and statues, including live performers posing as statues.<ref name=DrmVns>{{cite book|last=Schaffner|first=Ingrid|others= Photogr. by Eric Schaal|title=Salvador Dalí's "Dream of Venus": the surrealist funhouse from the 1939 World's Fair|year=2002|publisher=Princeton Architectural Press|location=New York|isbn=978-1-56898-359-2|edition=1. }}</ref> In 1958, Dalí completed ''Crisalida,'' a temporary installation promoting a drug, which was exhibited at a medical convention in San Francisco.<ref>{{Cite journal |last=Weir |first=Simon |date=29 July 2022 |title=Surrealist Architecture: Dalí's 1958 Crisalida, San Francisco |url=https://jsa-asu.org/index.php/JSA/article/view/245 |journal=Journal of Surrealism and the Americas |language=en |volume=13 |issue=1 |issn=2326-0459}}</ref>

=== Literary works ===
In his only novel, ''Hidden Faces'' (1944), Dalí describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolizes the decadence of the 1930s. The Comte de Grandsailles and Solange de Cléda pursue a love affair, but interwar political turmoil and other vicissitudes drive them apart. It is variously set in Paris, rural France, Casablanca in North Africa, and Palm Springs in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured U.S. fighter pilot.<ref>Salvador Dalí: ''Hidden faces'': London: Owen: 1973</ref> The novel was written in New York, and translated by [[Haakon Chevalier]].<ref name=":10" />

His other literary works include ''The Secret Life of Salvador Dalí'' (1942), ''Diary of a Genius'' (1966), and ''Oui: The Paranoid-Critical Revolution'' (1971). Dalí also published poetry, essays, art criticism, and a technical manual on art.<ref>Gibson, Ian (1997) pp. 710–13 and ''passim''</ref>

=== Graphic arts ===
Dalí worked extensively in the graphic arts, producing many drawings, etchings, and lithographs. Among the most notable of these works are forty etchings for an edition of Lautréamont's ''The Songs of Maldoror'' (1933) and eighty drypoint reworkings of Goya's ''Caprichos'' (1973–77).<ref>Gibson, Ian (1997), pp. 308–13, 567</ref> From the 1960s, however, Dalí would often sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.<ref name="Forde_170">Forde, Kevin (2011). ''[https://books.google.com/books?id=diNmCP6irQkC&pg=PA170 Investing in Collectables: An Investor's Guide to Turning Your Passion Into a Portfolio] {{Webarchive|url=https://web.archive.org/web/20200204140832/https://books.google.com/books?id=diNmCP6irQkC&pg=PA170 |date=4 February 2020 }}''. Wiley. p. 170. {{ISBN|1-74246-821-7}}.</ref>

Book illustrations were an important part of Dalí's work throughout his career. His first book illustration was for the 1924 publication of the Catalan poem ''{{Ill|Les bruixes de Llers|ca}}'' ("The Witches of Liers") by his friend and schoolmate, poet [[Carles Fages de Climent]].<ref>{{cite web| url = https://www.abebooks.fr/bruixes-Llers-Fages-Climent-Carles-Ilustra/22923917071/bd| title = ''Les bruixes de Llers'', Fages de Climent, Carles. Ilustra: Salvador Dalí. Editorial Políglota (imp. Altés), 1924| access-date = 20 March 2020| archive-date = 20 March 2020| archive-url = https://web.archive.org/web/20200320172432/https://www.abebooks.fr/bruixes-Llers-Fages-Climent-Carles-Ilustra/22923917071/bd| url-status = live}}</ref><ref>[https://www.sothebys.com/en/auctions/ecatalogue/2019/livres-et-manuscrits-pf1903/lot.104.html Dalí, Salvador, Carles Fages de Climent, ''Les bruixes de Llers'', primera edición: Barcelona, Editorial Políglota, 1924] {{Webarchive|url=https://web.archive.org/web/20200320172432/https://www.sothebys.com/en/auctions/ecatalogue/2019/livres-et-manuscrits-pf1903/lot.104.html |date=20 March 2020 }}. Sotheby's Paris, 18 June 2019</ref><ref>[https://web.archive.org/web/20080130143238/http://sapiens.ya.com/fagesdecliment/subpages/gibson1.htm "The shameful life of Salvador Dalí" (the witches of Liars)"]. Extract Ian Gibson on Dalí and the theme of ''Les bruixes de Llers''</ref> His other notable book illustrations, apart from ''The Songs of Maldoror'', include 101 watercolors and engravings for ''The Divine Comedy'' (1960) and 100 drawings and watercolors for ''The Arabian Nights'' (1964).<ref>Gibson, Ian (1997) pp. 496–97, 512</ref>