Salvador DalíThe Divine Back of Gala (Plate B), 19741974
1974
About the Item
- Creator:Salvador Dalí (1904 - 1989, Spanish)
- Creation Year:1974
- Dimensions:Height: 31 in (78.74 cm)Width: 26.5 in (67.31 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Generally excellent condition - some minor creases in the margins and handling dents.
- Gallery Location:Greenwich, CT
- Reference Number:
Salvador Dalí
Instantly recognizable by his waxed, upturned mustache, the flamboyant Salvador Dalí is one of modern art’s most distinctive figures. He is also one of the icons of the 20-century avant-garde Surrealist movement, whose dreamlike images, drawn from the depths of the unconscious, he deployed in paintings, sculptures, prints and fashion, as well as in film collaborations with Luis Buñuel and Alfred Hitchcock.
Dalí was born in Figueres, Catalonia, and even as a youngster, displayed the sensitivity, sharp perception and vivid imagination that would later define his artworks. In these, he conjured childhood memories and employed religious symbols and Freudian imagery like staircases, keys and dripping candles to create unexpected, often shocking pieces.
Dalí's use of hyperrealism in conveying Surrealist symbols and concepts that subvert accepted notions of reality is epitomized in what is perhaps his most recognizable painting, The Persistence of Memory (1931), in which he depicts the fluidity of time through melting clocks, their forms inspired by Camembert cheese melting in the sun. His artistic genius, eccentric personality and eternal quest for fame made him a global celebrity.
“Each morning when I awake, I experience again a supreme pleasure,” he once said. “That of being Salvador Dalí.”
Find original Salvador Dalí paintings, prints, sculptures and other works on 1stDibs.
- ShippingRetrieving quote...Ships From: Costa Mesa, CA
- Return PolicyA return for this item may be initiated within 3 days of delivery.
- Picasso: A Ticket to Glory (Plate C), 1974By Salvador DalíLocated in Greenwich, CTPicasso: A Ticket to Glory (Plate C) – signed ‘Dalí’ lower right and numbered A 11/195 lower left. Framed in an ornate gold-tone moulding. Cataloging: Micheler-Löpsinger 670; Field 74-8 Plate C Dalí’s series of colored etchings After Fifty Years of Surrealism reflects on the artist’s long...Category
20th Century Surrealist Prints and Multiples
MaterialsEtching, Stencil
- The Curse Overthrown (Plate E), 1974By Salvador DalíLocated in Greenwich, CTThe Curse Overthrown – signed ‘Dalí’ lower right and numbered A 11/195 lower left, from the edition of 462 (there were also 35 'A' Roman, 195 'F' Arabic, and 35 'F' Roman, plus 2 additional suites on japon). Framed in an ornate gold-tone moulding. Cataloging: Micheler-Löpsinger 666; Field 74-8 Plate E Dalí’s series of colored etchings After Fifty Years of Surrealism reflects on the artist’s long...Category
20th Century Surrealist Prints and Multiples
MaterialsStencil, Etching
- Freud with a Snail Head (Plate G), 1974By Salvador DalíLocated in Greenwich, CTFreud with a Snail Head – signed ‘Dalí’ lower right and numbered A 11/195 lower left, from the edition of 462 (there were also 35 'A' Roman, 195 'F' Arabic,...Category
20th Century Surrealist Prints and Multiples
MaterialsStencil, Etching
- The Divine Love of Gala (Plate J), 1974By Salvador DalíLocated in Greenwich, CTThe Divine Love of Gala – signed ‘Dalí’ lower right and numbered A 11/195 lower left, from the edition of 462 (there were also 35 'A' Roman, 195 'F' Arabic, and 35 'F' Roman, plus 2 additional suites on japon). Framed in an ornate gold-tone moulding. Cataloging: Micheler-Löpsinger 674; Field 74-8 Plate J Dalí’s series of colored etchings After Fifty Years of Surrealism reflects on the artist’s long...Category
20th Century Surrealist Prints and Multiples
MaterialsStencil, Etching
- The Museum of Genius and Fancy (Plate L), 1974By Salvador DalíLocated in Greenwich, CTThe Museum of Genius and Fancy – signed ‘Dalí’ lower right and numbered A 11/195 lower left, from the edition of 462 (there were also 35 'A' Roman, 195 'F' Arabic, and 35 'F' Roman, plus 2 additional suites on japon). Framed in an ornate gold-tone moulding. Cataloging: Micheler-Löpsinger 676; Field 74-8 Plate L Dalí’s series of colored etchings After Fifty Years of Surrealism reflects on the artist’s long...Category
20th Century Surrealist Prints and Multiples
MaterialsStencil, Etching
- Gala's Castle (Plate K) , 1974By Salvador DalíLocated in Greenwich, CTGala's Castle – signed ‘Dalí’ lower right and numbered A 11/195 lower left, from the edition of 462 (there were also 35 'A' Roman, 195 'F' Arabic, and 35 'F' Roman, plus 2 additional suites on japon). Framed in an ornate gold-tone moulding. Cataloging: Micheler-Löpsinger 675; Field 74-8 Plate K Dalí’s series of colored etchings After Fifty Years of Surrealism reflects on the artist’s long...Category
20th Century Surrealist Prints and Multiples
MaterialsStencil, Etching
- St Georges et le Dragon, Surrealist Etching by Salvador Dali 1974By Salvador DalíLocated in Long Island City, NYSalvador Dali was a Spanish painter, printmaker, and sculptor heralded as the father of surrealism. This piece features the fabled story of Saint George gallantly slaying a dragon. T...Category
1960s Surrealist Animal Prints
MaterialsStencil, Etching
- God, Time, Space, and the Pope - orignal etching - signed - 1974By Salvador DalíLocated in Paris, FRSalvador Dali God, Time, Space, and the Pope Original etching and stencil Handsigned in the right corner with the blind stamp of the editor in the left corner On BFK Rives vellum...Category
1970s Surrealist Figurative Prints
MaterialsStencil, Etching
- The Divine Love of Gala - orignal etching - signed - 1974By Salvador DalíLocated in Paris, FRSalvador Dali The Divine Love of Gala Original etching and stencil Handsigned in the right corner with the blind stamp of the editor in the left corner...Category
1970s Surrealist Figurative Prints
MaterialsStencil, Etching
- A Shattering Entrance upon the American Stage - orignal etching - signed - 1974By Salvador DalíLocated in Paris, FRSalvador Dali A Shattering Entrance upon the American Stage Original etching and stencil Handsigned in the right corner with the blind stamp of the editor in the left corner On B...Category
1970s Surrealist Figurative Prints
MaterialsStencil, Etching
- (after) Max Ernst - Blue Bird - StencilBy (after) Max ErnstLocated in Collonge Bellerive, Geneve, CHMax Ernst (after) - Blue Bird - Stencil Published in the deluxe art review, XXe Siecle, 1958 Dimensions: 32 x 25 cm Publisher: G. di San Lazzaro. Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...Category
1950s Surrealist Animal Prints
MaterialsStencil
- after Jean Arp - Moustaches et Squelette - PochoirBy Jean ArpLocated in Collonge Bellerive, Geneve, CHafter Jean Arp Moustaches et Squelette Executed in 1957 after the original artwork by the studios from Daniel Jacomet in Paris, France Pochoir Dimensions: 32 x 24 cm From the art re...Category
1950s Surrealist Abstract Prints
MaterialsStencil, Paper