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=== Later years in Spain === In 1948, Dalí and Gala moved back into their house in Port Lligat, on the coast near [[Cadaqués]]. For the next three decades, they would spend most of their time there, spending winters in Paris and New York.<ref name="Meisler" /><ref name="GalaGSDF" /> Dalí's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life.<ref>Gibson, Ian (1997) p. 470</ref> In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's ''Sistine Madonna'' in the ''Surrealist Intrusion in the Enchanter's Domain'' exhibition organized by Marcel Duchamp in New York.<ref name="lopez">{{Interlanguage link multi|Ignacio Javier López|es|Ignacio Javier López}}. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. ''[[Modern Language Notes|MLN]]'' 116 (2001): 295–314.</ref> Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler ... and friend of Franco".<ref>Gibson, Ian (1997) pp. 497–98</ref> In December 1949, Dalí's sister Anna Maria published her book ''Salvador Dalí Seen by his Sister''. Dalí was angered by passages that he considered derogatory towards his wife Gala and broke off relations with his family. When Dalí's father died in September 1950, Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.<ref>Gibson, Ian (1997), pp. 454–61</ref> [[File:The_Hallucinogenic_Toreador.png|thumb|300 px|''The Hallucinogenic Toreador'' (1968–1970); oil on canvas, 398.8 cm × 299.7 cm, [[Salvador Dalí Museum]]]] As Dalí moved further towards embracing [[Catholicism]] he introduced more religious iconography and themes in his painting. In 1949, he painted a study for ''[[The Madonna of Port Lligat]]'' (first version, 1949) and showed it to [[Pope Pius XII]] during an audience arranged to discuss Dalí 's marriage to Gala.<ref>Gibson, Ian (1997) pp. 450–53</ref> This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism", a fusion of Einsteinian physics, classicism, and Catholic mysticism. In paintings such as ''[[The Madonna of Port Lligat]]'', ''[[Christ of Saint John of the Cross|The Christ of Saint John on the Cross]]'' and ''[[The Disintegration of the Persistence of Memory]]'', Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.<ref>{{cite web|url=http://www.arton5th.com/Dali/bio.html|title=Salvador Dalí Bio, Art on 5th|archive-url=https://web.archive.org/web/20060504050531/http://www.arton5th.com/Dali/bio.html|archive-date=4 May 2006|access-date=22 July 2006}}</ref><ref>Gibson, Ian (1997) pp. 461–63</ref> His later Nuclear Mysticism works included ''[[La Gare de Perpignan]]'' (1965) and ''[[The Hallucinogenic Toreador]]'' (1968–70). Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and [[rhinoceros horn]] shapes in works from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral.<ref name=":6">Elliott H. King in [[Dawn Ades]] (ed.), ''Dalí'', Bompiani Arte, Milan, 2004, p. 456.</ref> Dalí was also fascinated by the [[Tesseract]] (a four-dimensional cube), using it, for example, in ''[[Crucifixion (Corpus Hypercubus)]]''. Dalí had been extensively using optical illusions such as double images, [[anamorphosis]], [[negative space]], [[visual pun]]s and ''[[trompe-l'œil]]'' since his Surrealist period and this continued in his later work. At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.<ref name="AdesOptical" />{{rp|17–18, 172}} He also experimented with the [[bulletism|bulletist]] technique<ref name="bp">{{cite web|url=http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/|title=The Phantasmagoric Universe – Espace Dalí À Montmartre|work=Bonjour Paris|language=fr|archive-url=https://web.archive.org/web/20060528084739/http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/|archive-date=28 May 2006|url-status=dead|access-date=22 August 2006}}</ref> [[pointillism]], enlarged [[half-tone]] dot grids and stereoscopic images.<ref name="AdesOptical">{{cite book|editor-last=Ades|editor-first=Dawn|title=Dalí's optical illusions : [Wadsworth Atheneum Museum of Art, January 21 – March 26, 2000 : Hirshhorn Museum and Sculpture Garden, April 19 – June 18, 2000; Scottish National Gallery of Modern Art, July 25 – October 1, 2000]|year=2000|publisher=Yale Univ. Press|location=New Haven, Connecticut|isbn=978-0-300-08177-0}}</ref> He was among the first artists to employ [[holography]] in an artistic manner.<ref name="holo">[http://www.holophile.com/history.htm The History and Development of Holography] {{Webarchive|url=https://web.archive.org/web/20110712214057/http://www.holophile.com/history.htm |date=12 July 2011 }}. ''Holophile''. Retrieved on 22 August 2006.</ref> In Dalí's later years, young artists such as [[Andy Warhol]] proclaimed him an important influence on [[pop art]].<ref name="warhol">{{cite web |url=http://www.carnegiemuseums.org/cmag/bk_issue/1998/mayjun/feat2.htm |title=Hello, Dalí |archive-url=https://web.archive.org/web/20060927105155/http://www.carnegiemuseums.org/cmag/bk_issue/1998/mayjun/feat2.htm |archive-date=27 September 2006 |work=Carnegie Magazine |access-date=22 August 2006}}</ref> In 1960, Dalí began work on his [[Dalí Theatre and Museum|Theatre-Museum]] in his home town of [[Figueres]]. It was his largest single project and a main focus of his energy through to 1974, when it opened. He continued to make additions through the mid-1980s.<ref name="Pitxot">{{cite book|last=Pitxot|first=Antoni | author-link = Antoni Pitxot|title=The Dalí Theatre-Museum|date=2007|publisher=Triangle Postals|location=Sant Lluís, Menorca|isbn=978-84-8478-288-9|author2=Montse Aguer Teixidor |author3=photography, Jordi Puig |author4= translation, Steve Cedar }}</ref><ref name="FGSD">{{cite web|url=http://www.salvador-dali.org/museus/figueres/en_historia.html|title=Figueres: Teatre Museu Dalí – History|year=2010|publisher=Fundació Gala-Salvador Dalí|access-date=20 June 2010|archive-date=3 April 2014|archive-url=https://web.archive.org/web/20140403010843/http://www.salvador-dali.org/museus/figueres/en_historia.html|url-status=live}}</ref> In 1955, Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse, and model.<ref>Gibson, Ian (1997) pp. 483–97</ref> At a French nightclub in 1965 Dalí met [[Amanda Lear]], a fashion model then known as Peki Oslo. Lear became his protégée and one of his muses. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.<ref name="Prose">Prose, Francine. (2000) ''[https://books.google.com/books?id=0rJ2EPVYbFUC The Lives of the Muses: Nine Women and the Artists they Inspired] {{Webarchive|url=https://web.archive.org/web/20160418233621/https://books.google.com/books?id=0rJ2EPVYbFUC&printsec=frontcover&source=gbs_ge_summary_r&cad=0 |date=18 April 2016 }}''. Harper Perennial. {{ISBN|0-06-055525-4}}.</ref><ref name="Lear">Lear, Amanda. (1986) ''My Life with Dalí''. Beaufort Books. {{ISBN|0-8253-0373-7}}.</ref>
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