Salavador Dali, Michelin Slave
In his book entitled Esculturas. Sculpture. A. Reynolds Morse identifies two distinct categories in the sculptures of Salvador Dali. The first is defined as the "only genuine group of Dali's original sculptures"(Morse, Esculturas. Sculpture p. 16). This group of forty-three wax sculptures, made between 1971 and 1981, are known today as the Clot Collection. The originality of these works lies in the fact that both the idea and its execution truly bore the hands of the artist. By contrast, Morse refers to the second category of sculptures as objects representative of Dali's ideas. (ibid.) These objects are typically assemblages or transformations of existing objects into Dali's surrealist experiments. He began creating these works in the early 1930's, and by the end of the 1960's they came to both represent and attract a mass commercial market. Michelin Slave is an object that falls under this second, more commercial category, and was therefore created prior to 1971. An understanding of the evolution of Michelin tires helps to further narrow the time period within which the work was conceived. Between 1950 and 1970, Michelin marketed the radial tire marking a real technological revolution. It would gradually take over all types
While the main figure is one of classical perfection, the smaller figure at his feet is highly abstract. In conclusion, it should be noted that deceptive weight is not uncharacteristic in Dali's sculptures. Its face is animalistic, resembling that of a monkey. The harmonization of disparate elements is characteristic of Dali's work throughout his career. The main figure is stretching upwards and back, with a tormented expression marking his struggle to break free of the confines of the tires that surround him. ), it appears to have been re-cast in 1964 without the fur tassels (see fig 3. The original work by Michelangelo reflects the subtractive process of carving where the figure is seemingly born out of a solid block of marble. Dali transformed a plaster replica of the Classic sculpture into Venus de Milo aux Tiroirs, putting drawers in her body and in her forehead. In fact, Robert Descharnes refers to the minimal effort invested by Dali in the creation of the object in stating that he had practically not touched the original plaster, and he had only marked where the drawers should be.
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Acceptance Essays
