Null JORDI CURÓS (1930-2017). "CADAQUÉS".
Oil on canvas.
Signed.
24 x 33.5 cm; 4…

Description

JORDI CURÓS (1930-2017). "CADAQUÉS". Oil on canvas. Signed. 24 x 33.5 cm; 45 x 54 cm (frame).

631

JORDI CURÓS (1930-2017). "CADAQUÉS". Oil on canvas. Signed. 24 x 33.5 cm; 45 x 54 cm (frame).

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SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Dance of time II", 1979. Bronze with green patina. Exemplary 44/350. Edition limited to 350+35 E.A. Marble base. Signed on the lower left side of the base and numbered on the front of the base. With foundry stamp on the front of the base. A copy of the certificate of authenticity is enclosed. Measurements: 30,5 x 24 x 24 cm (figure); 2,5 x 24,5 x 25 cm (marble base). The motif of the melted clock has probably been the most praised of Dalí's surrealist objects. In the painting "The Persistence of Memory" (1931), the soft clocks slipped from their supports and slid through an arid terrain of metaphysical cadences. The sculptural clock shown here was conceived by Dalí forty years later. The green patinated bronze and golden bronze details seem to melt like a liquid gem, suggesting to us that linear and objective time does not exist, but is malleable and subjective, playful and elastic like this clock whose dial and Arabic numerals are elongated and distorted by the effect of gravity. Dalí, a great reader of Freud, supported the Freudian concept of the "elasticity of psychic time" (that of memory and dreams) and managed to give it a unique visual form. It should also be noted that Dalí's works with melted clocks contain an underlying critique of the rigidity of time in modern society, where people are often dominated by the clock and the concept of linear time. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache imitating Velázquez's, which would become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "Un perro andaluz" (An Andalusian Dog), which showed scenes from the surrealist imaginary. In August of that same year he met his muse and future wife Gala. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. His work greatly influenced the direction of surrealism for the next two years, and he was hailed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to art dealer Julian Levy. As a result of his first individual exhibition in New York, his international projection was definitively consolidated, and since then he has been showing his work and giving lectures all over the world. Most of his production is gathered in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London.

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