Search results

1

Chrystus św. Jana od Krzyża. Salvador Dalí jako ekscentryczny mistyk i postmodernista

100%

Michna N. A.

Estetyka i Krytyka

|

2015

|

issue 1(36)

77-92

EN

This article is an attempt to both artistic and aesthetic analysis of Salvador Dalí’s Christ of St. John of the Cross as an image representing the main demands of the postmodern aesthetics. The applied research perspective allows to go beyond the traditional relation between postmodernism and the Great Avant-garde. This relation is based on indicating of what postmodernism took over from the earlier trends of avant-garde and surrealism in particular. The proposed reverse perspective refers to another, enriching relationship. It points directly at the early surrealistic discoveries which were used in a field of twentieth century art long before the rise of the postmodern aesthetics.

2

Prague - the city of drawers

100%

Bartilla S.

Umění (Art)

|

2022

|

vol. 70

|

issue 4

406-416

EN

Salvador Dalí never visited Prague, but in the painting The Anthropomorphic Cabinet from the year 1936 (Kunstsammlung Nordrhein-Westfalen, Düsseldorf) he depicted in a corner a view of Prague, the Anglická ulice [English Street] in Prague-Vinohrady in the vicinity of the náměstí Míru [Peace Square[ with the Church of St Ludmila. The original title of the painting was City of Drawers which Dalí changed to the current title before 1965. For this view he used a postcard from around 1905– 1908 with the caption of the place, which was at that time still part of an independent city, Královské Vinohrady. According to Dalí, the painting is a ‘kind of allegory of psychoanalysis, which illustrates the satisfaction with which we smell the narcissistic scent of each one of our drawers’. Dalí chose the postcard because he could recognise himself in the boy in the sailor suit, and in the woman next to him he saw his mother, or perhaps his aunt, Carolineta. My hypothesis is that in the painting City of Drawers we find a narcissistic-Surrealist construction of a myth, with Dalí declaring Prague to be his territory since his childhood, in reaction to the successful visit to Prague by André Breton in 1935, because at that time he rivalled Breton for the role of the leading surrealist. The message of this picture was not addressed to any beholder; rather, it was a case of narcissistic self-reassurance. Later, this meaning lost its relevance, and Dalí changed the title.

CS

Salvador Dalí Prahu nikdy nenavštívil. V horním rohu malby Antropomorfický kabinet z roku 1936 (Kunstsammlung Nordrhein-Westfalen, Düsseldorf) však výjev z Prahy nalezneme, konkrétně jde o Anglickou ulici na pražských Vinohradech, nedaleko náměstí Míru s kostelem sv. Ludmily. Původní název obrazu byl Město zásuvek, Dalí ho však někdy před rokem 1965 změnil. Podle Dalího je obraz „svého druhu alegorie psychoanalýzy, která zobrazuje uspokojení, s nímž vdechujeme narcistní pach každého ze svých šuplíků”. Jako předlohu k pražskému výjevu využil Dalí pohlednici z doby kolem 1905–1908, která zachycovala partii v té době ještě samostatného města Královské Vinohrady. Dalí ji vybral proto, že se poznával s chlapcem v námořnickém oblečku, ve vedle stojící ženě pak spatřoval svou matku, nebo možná také tetu Carolinetu. Nabízí se tedy hypotéza, že obraz Město zásuvek lze vyložit jako narcistině-surrealistickou construkci mýtu, v němž Dalí vydává Prahu za prostředí, které mu od dětství bylo vlastní. Reaguje tím na úspěšnou pražskou návštěvu Andrého Bretona v roce 1935, se kterým tehdy zápasil o roli vůdčí postavy surrealismu. Smyslem malby však nebylo předat toto sdělení divákovi, šlo spíše o malířovo narcistní sebepotvrzení. Když později tato významová rovina přestala být pro Dalího palčivá, rozhodl se název obrazu změnit.

3

Staurologiczno-rezurekcyjne wątki w malarstwie Salvadora Dalego

71%

Królikowski P.

Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej

|

2016

|

issue 23

123-157

EN

Salvador Dalí, one of the most famous Surrealist artists, and 20th century painters, highly imaginative, eccentric, know for his unusual behaviour, maybe best-known for his work ‘The Persistence of Memory’, was also the author of religious paintings. From them on the christological or rather staurological-resurrectional criterion can be distinguish group of paintings which in very original way are connected to paschal mystery’ themes. These pictures and their staurological-resurrectional contents are subject of this article. These pictures have been analysed in three points: Last Supper, Crucifixion, Resurrection. Dalí’s staurological-resurrectional works show thematic dependencies and relationships not only in the indicated groups but also between them. It shows Dalí’s coherent method of artistic expression – nuclear mysticism. In his painting this is a kind of synthesis mysticism and sciences, especially atomic and nuclear physics, in presentation religious contents, especially christological.Dalí’s works are not refer directly to paschal events, but present significance of Christ’s crucifixion and resurrection for whole universe, for all creation, and especially for a man. Dalí’s pictures shows that Christ by his death and resurrection transformed world in new creation, that He has been present in world history and waiting with an offer of salvation (especially in Eucharist) for every man, that He wants to bring all people and whole creation into heaven, and in this way complete His Ascension. Dalí shows heaven as reality very close to man, available for him at all the time. People can participate in heaven, if they are open to God’s reality. Dalí pictures helps to see that human life is in constant relationship to God which is not far away, but very close, although in another dimension.

Refine search results

1 Estetyka i Krytyka

1 Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej

1 Umění (Art)

1 2022

1 2016

1 2015

1 Bartilla S.

1 Królikowski P.

1 Michna N. A.

Chrystus św. Jana od Krzyża. Salvador Dalí jako ekscentryczny mistyk i postmodernista

Prague - the city of drawers

Staurologiczno-rezurekcyjne wątki w malarstwie Salvadora Dalego