Editing Salvador Dalí (section)

=== Madrid, Barcelona and Paris ===
[[File:Salvador Dalí, Federico García Lorca, Barcelona, 1925.jpg|thumb|upright|Dalí with [[Federico García Lorca]], Turó Park de la Guineueta, Barcelona, 1925]]
In 1922, Dalí moved into the [[Residencia de Estudiantes]] (Students' Residence) in Madrid<ref name=Llongueras /> and studied at the [[Real Academia de Bellas Artes de San Fernando]] (San Fernando Royal Academy of Fine Arts). A lean {{convert|1.72|m|ftin|frac=8}} tall,<ref>As listed in [http://www.gaudiclub.com/esp/e_links/dali/2004mar18_1.asp his prison record of 1924] {{Webarchive|url=https://web.archive.org/web/20210225164519/http://www.gaudiclub.com/esp/e_links/dali/2004mar18_1.asp |date=25 February 2021 }}, aged 20. However, his hairdresser and biographer, Luis Llongueras, stated Dalí was {{convert|1.74|m|ftin|frac=8}} tall.</ref> Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English [[artistic dress movement|aesthetes]] of the late 19th century.<ref>Gibson, Ian (1997), p. 90</ref>

At the Residencia, he became close friends with [[Pepín Bello]], [[Luis Buñuel]], [[Federico García Lorca]], and others associated with the Madrid avant-garde group Ultra.<ref>Gibson, Ian (1997), pp. 92–98</ref> The friendship with Lorca had a strong element of mutual passion,<ref>For more in-depth information about the Lorca-Dalí connection see ''Lorca-Dalí: el Amor Que no pudo ser'' and ''The Shameful Life of Salvador Dalí'', both by [[Ian Gibson (author)|Ian Gibson]].</ref> but Dalí said he rejected the poet's sexual advances.<ref name="conversations">Bosquet, Alain, ''[http://www.ubu.com/historical/dali/dali_conversations.pdf Conversations with Dalí] {{Webarchive|url=https://web.archive.org/web/20110728071536/http://www.ubu.com/historical/dali/dali_conversations.pdf |date=28 July 2011 }}'', 1969. pp. 19–20. (PDF)</ref> Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at the hands of [[Nationalist faction (Spanish Civil War)|Nationalist]] forces in 1936 at the beginning of the [[Spanish Civil War]].<ref name="Gibson, Ian 1997, passim"/>

Also in 1922, he began what would become a lifelong relationship with the [[Museo del Prado|Prado Museum]], which he felt was, 'incontestably the best museum of old paintings in the world.'<ref>{{Cite web|url=https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/|title=Salvador Dalí and the Museo del Prado: A Prolonged Fascination &#124; Fundació Gala – Salvador Dalí|access-date=15 July 2020|archive-date=15 July 2020|archive-url=https://web.archive.org/web/20200715151331/https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/|url-status=live}}</ref> Each Sunday morning, Dalí went to the Prado to study the works of the great masters. 'This was the start of a monk-like period for me, devoted entirely to solitary work: visits to the Prado, where, pencil in hand, I analyzed all of the great masterpieces, studio work, models, research.'<ref>{{Cite web|url=https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/#nota-2|title=Salvador Dalí and the Museo del Prado: A Prolonged Fascination &#124; Fundació Gala – Salvador Dalí|access-date=15 July 2020|archive-date=15 July 2020|archive-url=https://web.archive.org/web/20200715151331/https://www.salvador-dali.org/en/breaking-news/monographic-dali-raphael/salvador-dali-museo-del-prado/#nota-2|url-status=live}}</ref>

Those paintings by Dalí in which he experimented with Cubism earned him the most attention from his fellow students, since there were no Cubist artists in Madrid at the time.<ref>[https://books.google.com/books?id=K0H3fYErskYC&dq=dali+Cubist+art%2C+students%2C+a+catalog+given+to+him+by+Pichot&pg=PA24 Michael Elsohn Ross, ''Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities''] {{Webarchive|url=https://web.archive.org/web/20200806230719/https://books.google.fr/books?id=K0H3fYErskYC&lpg=PA24&ots=-ktQ5sQaeb&dq=dali%20Cubist%20art%2C%20students%2C%20a%20catalog%20given%20to%20him%20by%20Pichot&pg=PA24#v=onepage&q=dali%20Cubist%20art,%20students,%20a%20catalog%20given%20to%20him%20by%20Pichot&f=false |date=6 August 2020 }}, Chicago Review Press, 2003, p. 24. {{ISBN|1-61374-275-4}}</ref> ''[[Cabaret Scene]]'' (1922) is a typical example of such work. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including [[Dada]] and [[Futurism]].  One of his earliest works to show a strong Futurist and Cubist influence was the watercolor ''Night-Walking Dreams'' (1922).<ref>Gibson, Ian (1997), pp. 97–98</ref> At this time, Dalí also read Freud and [[Comte de Lautréamont|Lautréamont]] who were to have a profound influence on his work.<ref>Gibson, Ian (1997), pp. 116–119</ref>

In May 1925, Dalí exhibited eleven works in a group exhibition held by the newly formed ''Sociedad Ibérica de Artistas'' in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. Several leading critics praised his work.<ref>Gibson, Ian (1997), pp. 123–25</ref> Dalí held his first solo exhibition at [[Galeries Dalmau]] in Barcelona, from 14 to 27 November 1925.<ref name="Fèlix Fanés">[https://books.google.com/books?id=bDpziok_K7gC&q=galeries+dalmau Fèlix Fanés, ''Salvador Dalí: The Construction of the Image, 1925–1930''] {{Webarchive|url=https://web.archive.org/web/20180422133234/https://books.google.es/books?id=bDpziok_K7gC&dq=galeries+dalmau&source=gbs_navlinks_s |date=22 April 2018 }}, Yale University Press, 2007, {{ISBN|0-300-09179-6}}</ref><ref>{{cite web| url = http://pandora.girona.cat/viewer.vm?id=2934417&view=dalmau&lang=en| title = Exposició Salvador Dalí, Galeries Dalmau, 14–28 November 1925, exhibition catalog| access-date = 24 May 2018| archive-date = 2 May 2018| archive-url = https://web.archive.org/web/20180502212540/http://pandora.girona.cat/viewer.vm?id=2934417&view=dalmau&lang=en| url-status = live}}</ref> This exhibition, before his exposure to Surrealism, included twenty-two works and was a critical and commercial success.<ref>Gibson, Ian (1997), pp. 126–27</ref>

In April 1926, Dalí made his first trip to Paris, where he met [[Pablo Picasso]], whom he revered.<ref name="Meisler"/> Picasso had already heard favorable reports about Dalí from [[Joan Miró]], a fellow Catalan who later introduced him to many Surrealist friends.<ref name="Meisler" /> As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró.<ref>Gibson, Ian (1997), pp. 130–31</ref> Dalí was also influenced by the work of [[Yves Tanguy]], and he later allegedly told Tanguy's niece, "I pinched everything from your uncle Yves."<ref>Gibson, Ian (1997), p. 163</ref>

Dalí left the Royal Academy in 1926, shortly before his final exams.<ref name="Meisler" /> His mastery of painting skills at that time was evidenced by his realistic ''[[The Basket of Bread]]'', painted in 1926.<ref>{{cite web |url=http://www.dali-gallery.com/html/galleries/painting05.htm |title=Paintings Gallery No.&nbsp;5 |publisher=Dali-gallery.com |access-date=22 August 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100827234135/http://www.dali-gallery.com/html/galleries/painting05.htm |archive-date=27 August 2010 }}</ref>

Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic {{Interlanguage link|Sebastià Gasch|es}}.<ref name="Pàmies">[https://repositori.upf.edu/bitstream/handle/10230/22029/Andres_13.pdf?sequence=1 Elisenda Andrés Pàmies, ''Les Galeries Dalmau, un project de modernist a la Ciutat de Barcelona''] {{Webarchive|url=https://web.archive.org/web/20170809034049/https://repositori.upf.edu/bitstream/handle/10230/22029/Andres_13.pdf?sequence=1 |date=9 August 2017 }}, 2012–13, Facultat d'Humanitats, Universitat Pompeu Fabra</ref><ref>{{cite web| url = http://pandora.girona.cat/viewer.vm?id=2934087&view=dalmau&lang=en| title = Exposició de Salvador Dalí, Galeries Dalmau, Passeig de Gràcia, 31 December 1926 – 14 January 1927, exhibition catalog (other versions)| access-date = 24 May 2018| archive-date = 2 May 2018| archive-url = https://web.archive.org/web/20180502212327/http://pandora.girona.cat/viewer.vm?id=2934087&view=dalmau&lang=en| url-status = live}}</ref> The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with ''Composition with Three Figures (Neo-Cubist Academy)'' singled out for particular attention.<ref>Gibson, Ian (1997), pp. 147–49</ref>

[[File:DaliGreatMasturbator.jpg|thumb|300 px|''The Great Masturbator'' (1929); oil on canvas, 110 cm × 150 cm, [[Museo Nacional Centro de Arte Reina Sofía]]]]

From 1927, Dalí's work became increasingly influenced by Surrealism. Two of these works, ''Honey is Sweeter than Blood'' (1927) and ''Gadget and Hand'' (1927), were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, ''Honey is Sweeter than Blood'', as "equidistant between Cubism and Surrealism".<ref>Gibson, Ian (1997) p. 162</ref> The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among the public and debate among critics about whether Dalí had become a Surrealist.<ref>Gibson, Ian (1997), p. 171</ref>

Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work. He submitted ''Dialogue on the Beach (Unsatisfied Desires)'' (1928) to the Barcelona Autumn Salon for 1928; however, the work was rejected because "it was not fit to be exhibited in any gallery habitually visited by the numerous public little prepared for certain surprises."<ref>Gibson, Ian (1997), p. 287</ref> The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dalí.<ref>Gibson, Ian (1997) pp. 186–190</ref>

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge [[avant-garde]].<ref>Hodge, Nicola, and Libby Anson. ''The A–Z of Art: The World's Greatest and Most Popular Artists and Their Works''. California: Thunder Bay Press, 1996. [https://web.archive.org/web/20060921144258/https://ucmshare.ucmerced.edu/docushare/dsweb/Get/Document-94961/Dali+Salvador.doc Online citation].</ref> His classical influences included [[Raphael]], [[Bronzino]], [[Francisco de Zurbarán]], [[Johannes Vermeer|Vermeer]] and [[Diego Velázquez|Velázquez]].<ref>{{cite web |url=http://www.artcyclopedia.com/feature-2005-03.html |title=Phelan, Joseph |publisher=Artcyclopedia.com |access-date=22 August 2010 |archive-date=13 March 2014 |archive-url=https://web.archive.org/web/20140313074331/http://www.artcyclopedia.com/feature-2005-03.html |url-status=live }}</ref> Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works.<ref>[https://books.google.com/books?id=6EvIx6zOuqgC&q=dalmau%2C+dali&pg=PA317 ''Roger Rothman, Tiny Surrealism: Salvador Dal and the Aesthetics of the Small''] {{Webarchive|url=https://web.archive.org/web/20200806232725/https://books.google.fr/books?id=6EvIx6zOuqgC&lpg=PA319&dq=%22August%20Agero%22%20%22galeries%20dalmau%22&pg=PA317#v=snippet&q=dalmau,%20dali&f=false |date=6 August 2020 }}, U of Nebraska Press, 2012. p. 202. {{ISBN|0-300-12106-7}}</ref>

In the mid-1920s Dalí grew a neatly trimmed mustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter [[Diego Velázquez]], and this mustache became a well known Dalí icon.<ref>[https://archive.thedali.org/mwebimages/MIMSY%20SUPPORTING%20DOC/Dali%20and%20the%20Spanish%20Baroque%20Guide.pdf ''Salvador Dali and the Spanish Baroque: From Still Life to Velazquez''] {{Webarchive|url=https://web.archive.org/web/20200806232229/https://archive.thedali.org/mwebimages/MIMSY%20SUPPORTING%20DOC/Dali%20and%20the%20Spanish%20Baroque%20Guide.pdf |date=6 August 2020 }}, Salvado Dalí Museum, St. Petersburg, Fl. 2007</ref>