Editing Salvador Dalí (section)

=== 1929 to World War II ===
[[File:SalvadorDali-SoftConstructionWithBeans.jpg|thumb|300 px|''Soft Construction with Boiled Beans (Premonition of Civil War)'' 1936; oil on canvas, 100 x 99 cm, [[Philadelphia Museum of Art]]]]

In 1929, Dalí collaborated with Surrealist film director [[Luis Buñuel]] on the short film {{lang|fr|[[Un Chien Andalou]]}} (''An Andalusian Dog''). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts.<ref>{{cite web |last=Koller |first=Michael |url=http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html |language=fr |title=Un Chien Andalou |archive-url=https://web.archive.org/web/20101225061923/http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html |archive-date=25 December 2010 |work=Senses of Cinema |date=January 2001 |access-date=26 July 2006}}</ref> In August 1929, Dalí met his lifelong muse and future wife [[Gala Dalí|Gala]],<ref name=unbound>Shelley, Landry. [http://www.tcnj.edu/~unbound/spring2005/articles/a2 "Dalí Wows Crowd in Philadelphia"] {{Webarchive|url=https://web.archive.org/web/20171108082607/http://www.tcnj.edu/~unbound/spring2005/articles/a2 |date=8 November 2017 }}. ''Unbound'' ([[The College of New Jersey]]) Spring 2005. Retrieved on 22 July 2006.</ref> born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet [[Paul Éluard]].<ref>Gibson, Ian (1997) pp. 218–20</ref>

In works such as ''[[The First Days of Spring]]'', ''[[The Great Masturbator]]'' and ''[[The Lugubrious Game]]'' Dalí continued his exploration of the themes of sexual anxiety and unconscious desires.<ref>Gibson, Ian (1997) pp. 206–08, 231–32</ref> Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, [[André Breton]] described Dalí's new work as "the most hallucinatory that has been produced up to now".<ref name="Gibson, Ian 1997 p 237">Gibson, Ian (1997) p. 237</ref> The exhibition was a commercial success but the critical response was divided.<ref name="Gibson, Ian 1997 p 237"/> In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his [[paranoiac-critical method]] of accessing the subconscious for greater artistic creativity.<ref name="Llongueras" /><ref name="Rojas" />

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the ''Sacred Heart of Jesus Christ'', with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait".<ref name="Meisler" /><ref name="isbn0-571-19380-3" /> Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be disinherited and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at [[Port Lligat]]. He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.<ref name="GalaGSDF">{{cite web|title=Gala Biography|url=http://www.salvador-dali.org/dali/en_biografia-gala.html|work=Dalí|publisher=Gala-Salvador Dalí Foundation|access-date=27 May 2012|archive-url=https://web.archive.org/web/20120626181620/http://www.salvador-dali.org/dali/en_biografia-gala.html|archive-date=26 June 2012|url-status=dead}}</ref>

In 1931, Dalí painted one of his most famous works, ''[[The Persistence of Memory]]'',<ref>[http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf Clocking in with Salvador Dalí: Salvador Dalí's Melting Watches] {{Webarchive|url=https://web.archive.org/web/20060921144258/http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf |date=21 September 2006 }} (PDF) from the Salvador Dalí Museum. Retrieved on 19 August 2006.</ref> which developed a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and other limp watches shown being devoured by ants.<ref name=Conquete>Salvador Dalí, {{lang|fr|La Conquête de l'irrationnel}} (Paris: Éditions surréalistes, 1935), p. 25.</ref>

Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932. The earlier exhibition included sixteen paintings of which ''The Persistence of Memory'' attracted the most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as ''Hypnagogic Clock'' and ''Clock Based on the Decomposition of Bodies''.<ref>Gibson, Ian (1997) pp. 279–283, 299–300</ref> Dalí's last, and largest, the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings, and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament".<ref>Gibson, Ian (1997) pp. 314–15</ref> Dalí's first New York exhibition was held at [[Julien Levy]]'s gallery in November–December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The ''New Yorker'' critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares".<ref>Gibson, Ian (1997), p. 316</ref>

Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.<ref>Gibson, Ian (1997) p. 323</ref> They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell.<ref>Gibson, Ian (1997) p. 492</ref> In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala, who herself engaged in extra-marital affairs,<ref>Gibson, Ian (1997) pp. 421–22, 508–10, 620–21</ref> seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of her. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, ''Jo, Dalí'' (''I, Dalí'') by Catalan composer Xavier Benguerel.<ref name="Opera">{{cite web|last=Amengual|first=Margalida|title=An opera on the relationship between Salvador Dalí and Gala arrives at Barcelona's Liceu|url=http://www.catalannewsagency.com/culture/item/an-opera-on-the-relationship-between-salvador-dali-and-gala-arrives-at-barcelonas-liceu|work=Catalan News Agency (CNA)|publisher=Intracatalònia, SA|access-date=27 May 2012|date=14 December 2016|archive-date=20 December 2016|archive-url=https://web.archive.org/web/20161220175608/http://www.catalannewsagency.com/culture/item/an-opera-on-the-relationship-between-salvador-dali-and-gala-arrives-at-barcelonas-liceu|url-status=live}}</ref>

[[File:Man Ray Salvador Dali.jpg|thumb|left|Dalí (left) and fellow [[surrealism|surrealist]] artist [[Man Ray]] in Paris on 16 June 1934]]
Dalí's first visit to the United States in November 1934 attracted widespread press coverage. His second New York exhibition was held at the Julien Levy Gallery in November–December 1934 and was again a commercial and critical success. Dalí delivered three lectures on Surrealism at the [[Museum of Modern Art]] (MoMA) and other venues during which he told his audience for the first time that "[t]he only difference between me and a madman is that I am not mad."<ref>Gibson, Ian (1997), pp. 336–41</ref> The heiress [[Caresse Crosby]], the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head. A Paris newspaper later claimed that the Dalís had dressed as the [[Lindbergh baby]] and his [[Bruno Hauptmann|kidnapper]], a claim which Dalí denied.<ref>Gibson, Ian (1997), pp. 342–43</ref>
[[File:Portrait_of_Salvador_Dali,_Paris,_LOC_4483943847.jpg|thumb|Dalí, Paris, 16 June 1934]]
While the majority of the Surrealist group had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading Surrealist [[André Breton]] accused Dalí of defending the "new" and "irrational" in "the [[Hitler]] phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention".<ref>Greeley, Robin Adèle (2006). ''[https://books.google.com/books?id=2w1QddhP56wC Surrealism and the Spanish Civil War] {{Webarchive|url=https://web.archive.org/web/20160419062109/https://books.google.com/books?id=2w1QddhP56wC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=19 April 2016 }}'', Yale University Press. p. 81. {{ISBN|0-300-11295-5}}.</ref> Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism.<ref>{{Cite book|url=https://books.google.com/books?id=MORRDQAAQBAJ&pg=PT62|title=The Creative Underground : Art, Politics and Everyday Life|last=Clements|first=Paul|publisher=Taylor and Francis|year=2016|isbn=978-1-317-50128-2|access-date=11 September 2017|archive-date=6 February 2022|archive-url=https://web.archive.org/web/20220206234545/https://books.google.com/books?id=MORRDQAAQBAJ&pg=PT62|url-status=live}}</ref> Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group.<ref>Shanes, Eric (2012). ''[https://books.google.com/books?id=eDQqcrMy8M8C&pg=PA53 The Life and Masterworks of Salvador Dalí] {{Webarchive|url=https://web.archive.org/web/20200209185600/https://books.google.com/books?id=eDQqcrMy8M8C&pg=PA53 |date=9 February 2020 }}''. Parkstone. p. 53. {{ISBN|1-78042-879-0}}.</ref> To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist."<ref>[https://books.google.com/books?id=vYcGAAAAMAAJ Salvador Dalí, Louis Pauwels, ''Les passions Selon Dalí''] {{Webarchive|url=https://web.archive.org/web/20180917144729/https://books.google.es/books?id=vYcGAAAAMAAJ |date=17 September 2018 }}, Denoël, 1968</ref><ref>[https://books.google.com/books?id=ub6fAAAAMAAJ Pierre Ajame, ''La Double vie de Salvador Dalí: récit''] {{Webarchive|url=https://web.archive.org/web/20180917143252/https://books.google.es/books?id=ub6fAAAAMAAJ |date=17 September 2018 }}, Éditions Ramsay, 1984, p. 125</ref>

[[File:Dali Harcourt 1936.jpg|thumb|upright|Dalí, photographed by [[Studio Harcourt]] in 1936]]
In 1936, Dalí took part in the ''[[London International Surrealist Exhibition]]''. His lecture, titled {{lang|fr|Fantômes paranoiacs authentiques}}, was delivered while wearing a deep-sea diving suit and helmet.<ref>Jackaman, Rob. (1989) ''[https://books.google.com/books?id=DV9_6DAOSscC The Course of English Surrealist Poetry Since the 1930s] {{Webarchive|url=https://web.archive.org/web/20160419054822/https://books.google.com/books?id=DV9_6DAOSscC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=19 April 2016 }}'', [[Lewiston, New York]]: [[Edwin Mellen Press]]. {{ISBN|0-88946-932-6}}.</ref> He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply into the human mind."<ref>Gibson, Ian (1997) pp. 359–60</ref>

Dalí's first solo London exhibition was held at the Alex, Reid, and Lefevre Gallery the same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although the Daily Telegraph critic wrote: "These pictures from the subconscious reveal so skilled a craftsman that the artist's return to full consciousness may be awaited with interest."<ref>Gibson, Ian (1997) pp. 358–59</ref>

In December 1936, Dalí participated in the ''Fantastic Art, Dada, Surrealism'' exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The painting ''[[Soft Construction with Boiled Beans (Premonition of Civil War)]]'' (1936) attracted particular attention. Dalí later described it as, "a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of auto-strangulation".<ref>Gibson, Ian (1997). pp. 334, 364–67</ref> On 14 December, Dalí, aged 32, was featured on the cover of ''[[Time magazine|Time]]'' magazine.<ref name="Meisler" />

From 1933, Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice.<ref>Gibson, Ian (1997) pp. 306–308</ref> From 1936 Dalí's main patron in London was the wealthy [[Edward James]] who would support him financially for two years. One of Dalí's most important paintings from the period of James' patronage was ''[[Metamorphosis of Narcissus|The Metamorphosis of Narcissus]]'' (1937). They also collaborated on two of the most enduring icons of the Surrealist movement: the ''[[Lobster Telephone]]'' and the ''[[Mae West Lips Sofa]]''.<ref>{{cite web|url=https://nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607|title=Salvador Dalí Lobster Telephone|date=August 1994|website=National Gallery of Australia|access-date=23 June 2017|archive-date=19 March 2017|archive-url=https://web.archive.org/web/20170319005929/http://nga.gov.au/International/Catalogue/Detail.cfm?IRN=2607|url-status=live}}</ref>

Dalí was in London when the [[Spanish Civil War]] broke out in July 1936.  When he later learned that his friend Lorca had been executed by [[Nationalist faction (Spanish Civil War)|Nationalist]] forces, Dalí's claimed response was to shout: "Olé!" Dalí was to include frequent references to the poet in his art and writings for the remainder of his life.<ref>Gibson, Ian (1997), pp. 361–63</ref> Nevertheless, Dalí avoided taking a public stand for or against the [[the Second Spanish Republic|Republic]] for the duration of the conflict.<ref name=":4">Gibson, Ian (1997) pp. 376–77, and ''passim''</ref>

In January 1938, Dalí unveiled ''[[Rainy Taxi]]'', a three-dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within the taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the ''[[Exposition Internationale du Surréalisme]]'', organized by [[André Breton]] and [[Paul Éluard]]. The Exposition was designed by artist [[Marcel Duchamp]], who also served as host.<ref>{{cite web|url=http://www.salvador-dali.org/dali/en_biografia.html|title=Salvador Dalí's Biography – Gala|work=salvador-dali.org|publisher=Salvador Dalí Foundation|url-status=dead|archive-url=https://web.archive.org/web/20061106020704/http://www.salvador-dali.org/dali/en_biografia.html|archive-date=6 November 2006|access-date=14 February 2015}}</ref><ref>{{Cite book|last1=Herbert|first1=James D.|url=https://archive.org/details/paris1937worldso00herb|title=Paris 1937|publisher=Cornell University Press|year=1998|isbn=978-0-8014-3494-5|page=[https://archive.org/details/paris1937worldso00herb/page/27 27]|access-date=14 February 2015|url-access=registration}}</ref><ref>{{Cite book|last1=Cohen-Solal|first1=Annie|url=https://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|title=Leo and His Circle|year=2010|publisher=Alfred A. Knopf |isbn=978-1-4000-4427-6|access-date=14 February 2015|archive-date=13 December 2013|archive-url=https://web.archive.org/web/20131213193246/http://books.google.com/books?id=nDJL4MwVK10C&pg=PA130|url-status=live}}</ref>

In March that year, Dalí met [[Sigmund Freud]] thanks to [[Stefan Zweig]]. As Dalí sketched Freud's portrait, Freud whispered, "That boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.<ref name="Meisler" /> The following day Freud wrote to Zweig, "until now I have been inclined to regard the Surrealists, who have apparently adopted me as their patron saint, as complete fools. ... That young Spaniard, with his candid fanatical eyes and his undeniable technical mastery, has changed my estimate. It would indeed be very interesting to investigate analytically how he came to create that picture [i.e. ''Metamorphosis of Narcissus'']."<ref name="Rubin (1968) ">Rubin, William S. 1968. ''Dada and Surrealist Art.'' Harry N. Abrams, Inc., Publishers, New York. 525 pp.</ref>

In September 1938, Salvador Dalí was invited by [[Coco Chanel|Gabrielle Coco Chanel]] to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York.<ref>''Salvador Dalí Exhibition'', Exhibition Catalogue – 16 February through 15 May 2005</ref><ref>{{cite web |url=http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm |title=Salvador Dalí Exhibition |work=[[Philadelphia Museum of Art]] |archive-url=https://web.archive.org/web/20110707075359/http://philadelphia.about.com/od/salvador_dali/a/salvador_dali_a.htm |archive-date=7 July 2011 |access-date=12 May 2014 |last=Fischer |first=John}}</ref> This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. [[Life (magazine)|Life]] reported that no exhibition in New York had been so popular since Whistler's ''Mother'' was shown in 1934.<ref>Gibson, Ian (1997) pp. 389–90</ref>

At the [[1939 New York World's Fair]], Dalí debuted his ''Dream of Venus'' Surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, mermaids, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman.<ref name="DrmVns"/> Dalí was angered by changes to his designs, railing against mediocrities who thought that "a woman with the tail of a fish is possible; a woman with the head of a fish impossible."<ref>Gibson, Ian (1997), pp. 391–92</ref>

Soon after [[Francisco Franco|Franco]]'s victory in the Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism and praising Catholicism and the [[Falange Española de las JONS|Falange]]. As a result, Buñuel broke off relations with Dalí.<ref name=":5">Gibson, Ian (1997), p. 395</ref>

In the May issue of the Surrealist magazine ''Minotaure'', André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and that the over-refinement of his [[paranoiac-critical method]] was a repudiation of Surrealist [[Surrealist automatism|automatism.]] This led many Surrealists to break off relations with Dalí.<ref>Gibson, Ian (1997), pp. 387, 396–97</ref> In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí".<ref>Gibson, Ian (1997), p. 453</ref> This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune.