Editing Salvador Dalí (section)

=== World War II ===
The outbreak of [[World War II]] in September 1939 saw the Dalís in France. Following the German invasion, they were able to escape because on 20 June 1940 they were issued visas by [[Aristides de Sousa Mendes]], Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the ''Excambion'' from Lisbon to New York in August 1940.<ref>{{cite web |url=http://sousamendesfoundation.org/dali/ |title= Dalí |archive-url=https://web.archive.org/web/20131102223907/http://sousamendesfoundation.org/dali/ |archive-date=2 November 2013 |work=Sousa Mendes Foundation |date=20 June 1940 |access-date=12 May 2014}}</ref>  Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the [[Monterey Peninsula]], California.<ref>{{cite web|url=http://www.montereycountyweekly.com/news/cover/a-world-class-salvador-dali-art-collection-comes-to-monterey/article_b1267eae-db3d-11e5-9e95-3f5ae7bc3619.html|title=A world-class Salvador Dalí art collection comes to Monterey.|last=Schmalz|first=David|website=Monterey County Weekly|date=25 February 2016 |access-date=6 June 2016|archive-date=26 August 2018|archive-url=https://web.archive.org/web/20180826071520/http://www.montereycountyweekly.com/news/cover/a-world-class-salvador-dali-art-collection-comes-to-monterey/article_b1267eae-db3d-11e5-9e95-3f5ae7bc3619.html|url-status=live}}</ref><ref name=":11">Gibson, Ian (1997), pp. 411–12</ref>

Dalí spent the winter of 1940–41 at Hampton Manor, the residence of [[Caresse Crosby]], in Caroline County, Virginia, where he worked on various projects including his autobiography and paintings for his upcoming exhibition.<ref>{{cite web |url=http://www.virginialiving.com/%C2%A1hola,-dal%C3%AD!/ |title=¡Hola, Dalí! |last1=Crowder |first1=Bland |date=31 January 2014 |website=[[Virginia Living]] |publisher=Cape Fear Publishing |access-date=27 June 2016 |archive-date=1 July 2016 |archive-url=https://web.archive.org/web/20160701234130/http://www.virginialiving.com/%C2%A1hola,-dal%C3%AD!/ |url-status=live }}</ref><ref>Gibson, Ian (1997), pp. 404–05</ref>

Dalí announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April–May 1941. The exhibition included nineteen paintings (among them ''[[Slave Market with the Disappearing Bust of Voltaire]]'' and ''[[The Face of War]]'') and other works''.'' In his catalog essay and media comments, Dalí proclaimed a return to form, control, structure and the [[Golden Section]]. Sales however were disappointing and the majority of critics did not believe there had been a major change in Dalí's work.<ref>Gibson, Ian (1997) pp. 409–11</ref>

On 2 September 1941, he hosted ''A Surrealistic Night in an Enchanted Forest'' in Monterey, a charity event which attracted national attention but raised little money for charity.<ref>
{{cite web |author=Neal Hotelling |date=26 August 2022 |title=Call the sheriff, Dali's been robbed |url=http://pineconearchive.fileburstcdn.com/220826PC.pdf |archive-url=https://ghostarchive.org/archive/20221009/http://pineconearchive.fileburstcdn.com/220826PC.pdf |archive-date=9 October 2022 |url-status=live |access-date=26 August 2022 |work=[[Carmel Pine Cone]] |page=23 |place=Carmel-by-the-Sea, California}}</ref><ref name=":11" />

The Museum of Modern Art held two major, simultaneous retrospectives of Dalí<ref name="Soby (1941)">Soby, James Thrall. 1941. ''Salvador Dali: Paintings, Drawings, Prints.'' The Museum of Modern Art, New York. 87 pp.</ref> and [[Joan Miró]]<ref name="Sweeney (1941)">Sweeney, James Johnson. 1941. ''Joan Miro.'' The Museum of Modern Art, New York. 87 pp.</ref> from November 1941 to February 1942, Dalí being represented by forty-two paintings and sixteen drawings. Dalí's work attracted significant attention of critics and the exhibition later toured eight American cities, enhancing his reputation in America.<ref>Gibson, Ian (1997), pp. 413–16</ref>

In October 1942, Dalí's autobiography, ''[[The Secret Life of Salvador Dalí]]'' was published simultaneously in New York and London and was reviewed widely by the press. Time magazine's reviewer called it "one of the most irresistible books of the year".  George Orwell later wrote a scathing review in the ''Saturday Book''.<ref>Gibson, Ian (1997), pp. 416–20.</ref><ref name=orwell>Orwell, George [http://theorwellprize.co.uk/george-orwell/by-orwell/essays-and-other-works/benefit-of-clergy-some-notes-on-salvador-dali/ "Benefit of Clergy: Some Notes on Salvador Dalí"] {{Webarchive|url=https://web.archive.org/web/20160421185848/http://theorwellprize.co.uk/george-orwell/by-orwell/essays-and-other-works/benefit-of-clergy-some-notes-on-salvador-dali/ |date=21 April 2016 }}. theorwellprize.co.uk. Retrieved 24 February 2012.</ref> A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible for the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel resigning his position at MoMA in 1943 under pressure from the State Department.<ref>Luis Buñuel, ''My Last Sigh: The Autobiography of Luis Buñuel'' (Vintage, 1984) {{ISBN|0-8166-4387-3}}</ref><ref>Gibson, Ian (1997) p. 419</ref> Dalí also published a novel ''Hidden Faces'' in 1944 with less critical and commercial success.<ref name=":10">Gibson, Ian (1997) pp. 424–30</ref>

In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943, Dalí continued his attack on the Surrealist movement, writing: "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college [<nowiki/>[[collage]]]".<ref name="Descharnes (1993) p. 35.">Descharnes, Robert and Nicolas. ''Salvador Dalí''. New York: Konecky & Konecky, 1993. p. 35.</ref> The critical response to the society portraits in the exhibition, however, was generally negative.<ref>Gibson, Ian (1997) p. 423</ref>

In November–December 1945 Dalí exhibited new work at the [[Bignou Gallery]] in New York. The exhibition included eleven oil paintings, watercolors, drawings, and illustrations. Works included ''[[Basket of Bread]]'', ''Atomic and Uranian Melancholic Ideal'', and ''My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae of a Column, Sky and Architecture''. The exhibition was notable for works in Dalí's new classicism style and those heralding his "atomic period".<ref>Gibson, (Ian) (1997), pp. 434–36</ref>

During the war years, Dalí was also engaged in projects in various other fields. He executed designs for a number of ballets including ''Labyrinth'' (1942), ''Sentimental Colloquy'', ''Mad Tristan'', and ''The Cafe of Chinitas'' (all 1944).<ref name=":1">Gibson, Ian (1997), pp. 431–43</ref> In 1945 he created the dream sequence for Alfred Hitchcock's film ''Spellbound''.<ref name=":2">Gibson, Ian (1997) pp. 434–45</ref> He also produced artwork and designs for products such as perfumes, cosmetics, hosiery and ties.<ref>Gibson, Ian (1997) pp. 430–31</ref>