salvador dali style?

Question

surrealism, anything else u have ?

Answer 1

Of course, Surrealism grew directly out of a group of dissatisfied Dadaists, but Dali had worked in Impressionism, Pointillism, Futurism, Cubism, and Neo-Cubism. His best-known pieces are the Surreal canvases, but his style was often rejected by other Surrrealists and it continued to evolve throughout his career.

By the end, he was creating more realistic works with heavily symbolic overtones -- the symbols becoming more universal than individual.

Answer 2

Yeah, Dali's surrealism is so overrated I want to throw a fit. This is not art it is pablum for children. What a bunch of crap. I've been dragged to Dali exhibitions by other people three times and each time I want to scream at everyone there, "What's wrong with you? Are you all blind or stupid? Tear this crap from the walls and burn it. Don't let your children see it. This is not art it is an insult!" But I don't and I just go and buy some pornography to cool my brain down when I am alone later.

Answer 3

I read with interest the long dissertation of his history in the previous answer, but being a big fan of his, I'll just say that his work was ever changing as he could pretty much do anything he pleased, especially when he had a patron who would buy anything he produced. That's the dream of every artist out there and he was one that had his dreams fulfilled.
I think one of the coolest pieces he ever did was an installation in a New York gallery( I don't recall the particular gallery) that consisted of an actual New York taxi cab, with water piped into it and spraying every where inside the cab (it had a circulating pump system to reclaim the water so there was a continuous flow) and inside the taxi was a manneqin with leeches all over it ! This was pretty radical for the times and showed the trappings of his fertile imagination, and really freaked all the critics out! I sure would have loved to have seen that!!
I've been to his gallery in St. Petersburg Florida--magnificent experience- I stayed there all day, and did not want to leave!
One of these days, my wife and I are going to go to see his museum in Spain!

Answer 4

In the late 1930s Dalí switched from surrealist dreamscapes to painting in a more academic style under the influence of the Renaissance painter Raphael, and as a consequence he was expelled from the Surrealist movement.

He then spent much of his time printing, film making, designing theatre sets, interiors of fashionable shops, and jewelry, as well as exhibiting his genius for flamboyant self-promotional stunts in the United States, where he lived from 1940 to 1955.

In the period from 1950 to 1970 Dalí painted many works with religious themes, though he continued to explore erotic subjects, to represent childhood memories, and to use themes centring on his wife, Gala.

Answer 5

He did some film making and acted, also the Dada art style influenced his works in surrealism

Answer 6

Dali is perhaps most famous for his Surrealist works, but he did other types also.

http://www.dali-gallery.com/html/dali.php

Answer 7

He worked with large holograms for a little while - they're on display at his house outside Barcelona.

Answer 8

surrealist art - A twentieth century avant-garde art movement that originated in the nihilistic ideas of the Dadaist and French literary figures, especially those of its founder, French writer André Breton (1896-1966). At first a Dadaist, he wrote three manifestos about Surrealism — in 1924, 1930, and 1934, and opened a studio for "surrealist research."

Influenced by the theories of the pioneer of psychoanalysis, Sigmund Freud (German, 1856-1939), the images found in surrealist works are as confusing and startling as those of dreams. Surrealist works can have a realistic, though irrational style, precisely describing dreamlike fantasies, as in the works of René Magritte (Belgian, 1898-1967), Salvador Dalí (Spanish, 1904-1988), Yves Tanguy (French, 1900-1955), and Alfred Pellan (Canadian, 1906-1988). These artists were partly inspired by Symbolism, and partly the Metaphysical Painting of Giorgio de Chirico (Italian, 1888-1978). Or, it could have a more abstract style, as in the works of Joan Miró (Spanish, 1893-1983), Max Ernst (German, 1891-1976), and André Masson (French, 1896-1987), who invented spontaneous techniques, modeled upon the psychotherapeutic procedure of "free association" as a means to eliminate conscious control in order to express the workings of the unconscious mind, such as exquisite corpse.

"Spanish painter. Born into a middle-class family, he studied at the Academy of Fine Arts in Madrid, where he mastered academic techniques. Dalí also pursued his personal interest in Cubism and Futurism and was expelled from the academy for indiscipline in 1923. He formed friendships with Lorca and Buñuel, read Freud with enthusiasm and held his first one-man show in Barcelona (1925), where he exhibited a number of seascapes. He wrote the screenplay for Buñuel's Un Chien Andalou (produced in 1928), largely thanks to which he was adopted by the Surrealists. In Paris he met Picasso and Breton, and his involvement from 1929 onwards, his effervescent activity, his flair for getting publicity through scandal and his vivacity which counterbalanced the political difficulties encountered by the group, made him a particularly welcome addition.
"Over the next few years Dalí devoted himself with passionate intensity to developing his method, which he described as 'paranoiac-critical', a 'spontaneous method of irrational knowledge based on the critical and systematic objectivation of delirious associations and interpretations'. It enabled him to demonstrate his personal obsessions and fantasies by uncovering and meticulously fashioning hidden forms within pre-existing ones, either randomly selected (postcards, beach scenes, photographic enlargements) or of an accepted artistic canon (canvases by Millet, for example). It was at this period that he was producing works like The Lugubrious Game (1929), The Persistence of Memory (1931) and Surrealist Objects, Gauges of Instantaneous Memory (1932). Flaccid shapes, anamorphoses and double-sided figures producing a trompe-l'œil effect combine in these works to create an extraordinary universe where the erotic and the scatological jostle with a fascination for decay - a universe that is reflected in his other works of this period, including his symbolic objects and poems (La Femme visible, 1930; L'Amour et la mémoire, 1931) as well as the screenplay for L'Age d'Or (1930).

"It soon became apparent, however, that there was an inherent contradiction in Dalí's approach between what he himself described as 'critical paranoia' - which lent itself to systematic interpretation - and the element of automatism upon which his method depended. Breton soon had misgivings about Dalí's monsters which only lend themselves to a limited, univocal reading. Dalí's extreme statements on political matters, in particular his fascination for Hitler, struck a false note in the context of the Surrealist ethic and his relations with the rest of the group became increasingly strained after 1934. The break finally came when the painter declared his support for Franco in 1939. And yet he could boast that he had the backing of Freud himself, who declared in 1938 that Dalí was the only interesting case in a movement whose aims he confessed not to understand. Moreover, in the eyes of the public he was, increasingly as time went by, the Surrealist par excellence, and he did his utmost to maintain, by way of excessive exhibitionism in every area, this enviable reputation.

"In 1936, Dalí returned to a classical manner of painting, switching haphazardly between Italian, Spanish and pompier styles. From 1939 to 1948, he lived in the United States, cultivating his persona as a genial eccentric, and earning from Breton the nickname Avida Dollars (an anagram of his name) in 1940. In Spain once more (at Port Lligat), he provided a constant source of interest for the gossip columns, which described the parties he threw, his carefully orchestrated 'eccentricity' and all the pomp and ceremony of his church wedding in 1958 to Gala (Éluard's first wife), whom he had first met in 1929 and who was to remain the only woman in his life, his muse, his model and his most effective agent. If he declared that Meissonier was a better painter than Picasso, that Perpignan railway station was the centre of the world, or that Francoism had saved Spain, these were precisely the sort of statements that people expected of him. His painting, in the meantime, while technically brilliant, was based on ideas that were not perhaps as bold and new as they seemed (Christ of Saint John of the Cross, 1951, for example, or the Crucifixion of 1954) - more a series of confidence tricks designed to convince the public that Dalí was borrowing from nuclear physics or 'inventing' the anaglyph relief. In 1965, he turned his hand to sculpture, contenting himself with repeating themes from his paintings: a Venus equipped with cupboard drawers, elephants with spiders' legs, soft watches, etc., worked in bronze or crystal. The purpose of the post-war lithographs was principally financial: their uncontrolled print runs and more or less authentic signatures brought discredit on the artistic mass market of the 1960s. Such 'scandals', however, like the denunciation of fake Dalís in the 1970s, served to keep a myth alive - a myth that has proved remarkably durable if the success of both the Dalí museum at Figueras, which the painter himself set up in 1974, and the major exhibitions periodically held in celebration of his 'genius' is anything to go by."

- Text from "ART20, The Thames and Hudson Multimedia Dictionary of Modern Art"