How
he became an artist
Dali was a Spanish painter, sculptor, graphic
artist, and designer. After passing through phases of Cubism, Futurism and
Metaphysical painting, he joined the Surrealists in 1929 and his talent for
self-publicity rapidly made him the most famous representative of the movement.
He took over the Surrealist theory of automatism but transformed it into a more
positive method which he named `critical paranoia'. According to this theory
one should cultivate genuine delusion as in clinical paranoia while remaining
residually aware at the back of one's mind that the control of the reason and
will has been deliberately suspended. He claimed that this method should be
used not only in artistic and poetical creation but also in the affairs of
daily life. His paintings employed a meticulous academic technique that was
contradicted by the unreal `dream' space he depicted and by the strangely
hallucinatory characters of his imagery. He described his pictures as
`hand-painted dream photographs' and had certain favorite and recurring images,
such as the human figure with half-open drawers protruding from it, burning
giraffes, and watches bent and flowing as if made from melting wax.
In
the next few years Dali started to paint less and spent more time developing
his method. He read a lot about Freud’s ideas, and he found a new inspiration.
He sought to explore the unconscious mind. He was very fascinated with the
state of semi-consciousness and the mental state between consciousness and
unconsciousness state of mind. This state is when the mind is free from the
restraints of logic or social regulations. Instead of analyzing the state of
mind for psychiatric reasons like Freud did, Dali just wanted to explore it and
find a way to incorporate it into his art. After awhile he started to get tired
of it so he drifted away from surrealism and returned to the classical form of
art in 1936. He began to experiment with several different types of art. Some
of them were Classical Spanish, Classical Italian and pompier.
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