The Invention of the Monsters
Salvador Dali's, The Invention of the Monsters, 1937, which is located at the Art Institute of Chicago, depicts the idea of Surrealism, through, the artist's use of space, and form, color and iconography. In the following paper, I will discuss the developments of these elements in Dali's work. Dali juxtaposed forms in his nightmarish environment. He has the haunting environment, with the dark colors, and the burning giraffe. He sets up his picture in some sort of parallel form between men and women. The women that have the double faced masks, are together, and the half- horse, half females are together. It seems as though no matter how close they are to each other, they do not touch each other. Another characteristic of form would be with the little objects that are laying on the table. There is a human hand, towards the lower left side of the drawing, holding an antique watch. Then there is another human hand holding a ball. The hand seems as though it could be the woman's hand that is sitting on the wooden altar. Towards the upper right hand side of the table, lies a sculpture with two heads, perhaps this might of have been a symbol of Dali's love that he has for his wife Gala, since she was known for posing in h
Dali's iconography is also a form of Surrealism. By 1934, Dali's fascination of Hitler, created conflict between him and Andre Berton. Gala managed his success in the 1930's with exhibitions in Europe, and the United states. Gala was legally divorced from her husband in 1932. A surrealist image must be emotive and evocative. Dali's Inventions of the Monsters, is full of double or hidden images, in which he might of have been inspired by Bosch. He also does this by bringing together the fire with the burning giraffe. The relations between Dali and the Surrealists declined throughout the late thirties. In 1939, he visited London, and met with Freud. Dali presents this well by bringing together the form of the painting, or the females with the horses to make them she-horses. Perhaps Dali's painting of him, and his wife Gala together in the lower left, might suggest Leonardo's Mona Lisa, and an altar to Venus, in which a beautiful woman is sitting on top of it, as the other side of her face is a horse. Another characteristic of form would be with all the figures do not look straight out at the viewer; they are facing either to the side, or they are bending down. You also see the detailed paintings. In order for an image to be Surrealist, an image can not be premeditated, it can only be spontaneous. Here, he received the first retrospective exhibition at the Museum of Modern Art in New York in 1941.
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