- Gebundene Ausgabe: 112 Seiten
- Verlag: Harry N. Abrams (15. September 1998)
- Sprache: Englisch
- ISBN-10: 0810958007
- ISBN-13: 978-0810958005
- Größe und/oder Gewicht: 15,6 x 1,3 x 15,6 cm
- Durchschnittliche Kundenbewertung: 3 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 2.502.959 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
The Essential: Salvador Dali (Essential (Harry N. Abrams)) (Englisch) Gebundene Ausgabe – 15. September 1998
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If you've ever doubted that good things come in small packages, take a look at the pocket-sized books in the Essentials series, which include volumes devoted to Salvador Dali, Vincent Van Gogh, Jackson Pollock, and Edward Hopper. It's clear that the book's designers had some fun with the material, both visual and textural. Key words are italicized for the student reader. Quotations labeled "sound bytes" are highlighted with strips of color. There are rubrics every few paragraphs, so you can review "What's So Great About Salvador Dali" or "Phalluses, Crutches, William Tell: Authority Figures," if you're looking for something to toss into a conversation at a gallery opening. The pictures range from one-inch reproductions of not-so-important images to clear, large details of key works.
Salvador Dali, the Spanish surrealist who died in 1989 after a long period of misery, comes off as a truly tortured soul in Robert Goff's sympathetic text. The book is designed to give a quick dip into the sea of surrealism, and its manic design is perfect for the artistic Cliff Notes crowd--smart teens discovering culture, young professionals looking for more than stock quotes in their lives, or even cognoscenti with gaps in their art history education. But Goff goes deeper than all of that. He accurately and kindly conveys Dali's prodigious natural talent, his psychosexual torment, his obsession with masturbation, his heterosexual ambivalence, and his profound attachment to his beloved wife, Gala, described as a shrew and a trollop. In the end, the book succeeds in giving a rounded view of an artist whose surrealist antics sometimes obscured his strange genius. --Peggy Moorman -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
For readers who have little time to spare and are averse to art-world jargon, this series aims to provide an entertaining guide to individual artists and pop culture. Each volume presents an account of the artist's life, personal and professional anecdotes, concise definitions of cultural and social movements that shaped the artist's work, and colour reproductions. This study of Salvador Dali investigates the reasons for his fame and popular appeal, and tells the story behind the drooping watches; the tabloid gossip, the money and the excess; the reputation as genius, fraud, madman, egomaniac; and the mix of religious and sexual imagery.
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A true outrageous genius, classically trained, and under the heavy influence of Picasso, he quickly broke away to Paris (in 1929) to seek his own place in the world of surreal art, which was just beginning to hit its stride. It was Freud's psychological theories that proved to have had the greatest impact on his surrealist paradigmatic form of expression. Like Freud, Dali believed that childhood experiences marked us for life, and that the world of the unconscious, especially repressed sexual fantasies, was where the rich mother lode of private experiences that propelled the artist, lay. His paradigm (eventually called the "Paranoiac-Critical" method) was channeled through the lens of Freudian psychoanalytic theory.
Dali's interpretation of Freud goes somewhat as follows: In the psyche there exists an irrational, animalistic component of the mind called the id. It is the source of the libido and all sexual drives, drives that from infancy refuse to be hemmed-in by society's constant pressures and attempts at censorship. And since it is unnatural for instincts to be silenced, maturity is mostly a constant inner struggle within the individual to either succumb to, or find alternative ways of getting around the societal censor.
Dreams. a la Freud, proved to be the perfect subconscious platform for a surrealist artist to get around the societal censor. For not only do dreams remove the constraints of the censor, they also remove the constraints of time, space and the wall of moral inhibitions that the society (through the censor) erects. The dream was the modality of expression that Dali chose. Through their symbolism of condensation, displacement and sublimation, Dali was able to not just get around the societal censor, but to transcend it in the most profound and shocking of possible ways.
Using Freud's psychoanalytic theory, his own dreams, and his repressed family background, Dali was able to mine his subconscious and then build a catalogue of symbolic representations, which allowed him full access to, and expression of, whatever repressed sexuality might lay in his subconscious mind. These weird forms, shapes, props and structures we have come to recognize and identify with Dali's paintings. To wit: the sleeping head, the grasshopper, the crutch, the rotting fish, the dreamer, the muscular naked propped-up man, stone-breasted women, and the endless procession of phallic symbols, all have established places within Dali's pantheon of repressed sexual meanings and representations.
It was not just the risque nature of Dali's paintings that got him into trouble, Dali's politics also often got him into hot water. For although he despised the bourgeoisie class of which his family was a member (He said of them that sex, eating, and destruction were interchangeable activities), he nevertheless, much to the horror of his admirers, also supported the Fascist dictator, Francisco Franco.
By allowing the reader to be able to decode the meanings in Dali's paintings, this book vastly enriches ones understanding and appreciation of Dali's works. Ten stars