Who gave him Dali's thoughts? Bent the spoon to borrow your inspiration Don't have to pay me
back Is it the wall clock or the cheese that melted You don't return to me on the lobster phone
. Every summer when the wind blows, we will be A singer named Jay Chou woke up his ears with a new song, and then fell asleep after countless single loops, waiting for another summer. It's just that the deep sleep has been a little long this time, like the Sleeping Beauty in the fairy tale being touched by a spindle, or a cigarette that has been kept for many years without smoking, and this time, in addition to the long-lost melody, there is also a cockroach. of Dali.
Interestingly, some people on the Internet have recently raised questions like "Who is Dali? Why did he come to slap Jay Chou's hot spots again?" As everyone knows, the reason why Jay Chou named the song "The Greatest Work", Not because of his greatness in writing, but because of the artists in the lyrics headed by Dalí, so the real hotspot is the "Dalís". Just like Dali's greatest work "Eternal Memory", the greatness of "Dali" is our eternal memory.
The Rebellious Past of an Artistic Prodigy
On May 11, 1904, Salvador Dali was born in a small town in Figueres, Spain, where he spent his entire childhood. Dali was the second son in the family, but because his brother died unexpectedly from meningitis three years ago, his birth brought great comfort to his parents who had fallen into despair. Expectation and doting. However, although they were relatively supportive of Dali's obsession with painting, from Dali's feelings, the encouragement and support from his mother were obviously much more selfless. Dalí said that the biggest blow in his life was the sudden death of his mother, because she was the person he admired the most, and her divine soul had a moral value far above all others, and her nobility made the many stains of his soul invisible. No, her sincerity and selflessness filled him with pride from beginning to end.
My father always believed that art should not be a means of subsistence, but a kind of spiritual pastime allowed by leisure time. Because of this, although he did not prevent Dali from painting, he also urged Dali to pursue a career in science and even literature many times in the future. But in the end, it didn't help. After graduating from high school, Dalí's talent in painting came to the fore, which made his father make a compromise and send him to the San Fernando Academy of Fine Arts in Madrid.
In elementary school, Dalí seemed to do only one thing: to create fictitious memories with unprecedented enthusiasm. At school, he even forgot the letters of the alphabet and how to spell his name, but his omnipotent nightmares and imaginary impulses were intertwined with real life. He often has no way of knowing how life begins with reality and ends with imagination. He often has a phenomenon of high vision, as if the eyes have become a pair of powerful glasses, acting as a magnifying glass within a limited range of vision.
Similar to the two trees that Lu Xun saw outside the wall in the backyard of his home, the most profound memory of Dalí's middle school days is also the two trees he saw outside the window of the first classroom of Figueres Christian School. Both are cypresses, but the one on the left is slightly shorter and the one on the right is straight. Every afternoon, Dalí's window of vision opens on the two cypress trees as the light changes. To him, they burned like two black flames in the sky all afternoon, and in this way informed him of the monotonous rhythm of the class. Dalí said to himself that these two cypress trees were his clocks: burning at the start of afternoon classes and fading into darkness after evening prayers. Even though he was later replaced by the school on the grounds of being distracted and deprived of the two cypress trees from his sight, Dali still persistently and accurately perceived their positions, reconstructing everything in time with his imagination. This clock image will become the symbol of Dali's entire artistic career later, and it is also the key to our understanding of the meaning of Dali's clocks.
The intersection between the masters
Dalí's adolescence is also different in that it consciously reinforces the myths, eccentricities, flaws and virtues that he had formed in his childhood. At the San Fernando Academy of Fine Arts in Madrid, he was very enthusiastic and quickly disappointed with his teachers, who, despite their honor, could not teach him anything. In fact, it is not that Dali is arrogant, nor that the teachers are mediocre and incompetent. Instead, it is because of their so-called "spirit of progress" that they keep pace with the times, and their pursuit of new things and trends makes Dali feel too free and slack. In other words, Dalí scoffed at the Impressionism and Cubism that his teachers were pursuing at the time, and felt that the creative freedom they advertised was putting the cart before the horse, and it was what he left behind when he was a boy. What he wanted was precision of expression, the most accurate knowledge of composition, perspective, and color.
Dali described the excitement and reverence when he visited Picasso as if he was being received by the Pope. He told Picasso that he had come to see him before going to the Louvre, and Picasso said you were right. Dali carefully prepared a small painting called "The Girl of Figueres" for Picasso. The other party stared at it silently for a quarter of an hour, and then the two went upstairs to watch Picasso's painting together for two hours. Equally silent. Until the moment they left, the two looked at each other.
Buñuel was attracted by a short script that Dalí had just written. The razor cuts the eyeball, the dark clouds cross the moon, the ants crawl out of the palm... All kinds of subconscious and dream-like scenes are like a dagger pierced into the heart of Paris. Dali said that their film only took one afternoon to destroy one. The pseudo-intellectual avant-garde of the post-war decade, and the disgusting abstraction that has since collapsed.
After that, Dalí was gradually labeled as a "master of surrealism", especially with the appearance of his 1931 painting "Eternal Memory". The soft clocks in the painting, either hanging on the branches, resting on the platform, or draped over the shoulders of the monsters, together with the hard clock that is upside down, full of ants and unable to see the time, announced the era of surrealism. curtain up. But as the war loomed, the apolitical Dalí clashed with the Surrealists, and he was expelled from the Surrealist group in a "trial" in 1934, leaving him in the 1930s and 1940s Moving into new genres of painting and focusing on science and religion, the artistic style is also more traditional. After 1940, Dalí immigrated to the United States and lived there for 15 years. In the past 15 years, he has devoted a lot of time and work to self-promotion. On the one hand, his reputation has reached the peak, and on the other hand, he has narrowed the distance with ordinary people through exchanges with many literary works.
Or because of the many intersections with the development track of modern literature, there are many art masters in the last century who cross the border for literary works, such as Matisse's "Ulysses" and "Flower of Evil", Picasso. The Lysistrata and The Unknown Masterpiece. Dalí was also an artist who loved to draw illustrations, as far as the rare old books I have seen are considered: Autobiography of Cellini in 1945, Don Quixote in 1946, Macbeth and As You Like It 1947, The Essays of Montaigne 1947, The Divine Comedy 1952, Alice in Wonderland 1969, The Bible 1970, The Ten Days 1972 Talk"... Even in 1966, Dali drew 8 print illustrations for Chairman Mao's poems.
Of all Dalí's illustrations, the most famous is undoubtedly Alice in Wonderland, because it was a dreamer's tribute to another sleepwalker; but my favorite and the only one I have in possession of Dalí's autograph The book is the limited edition Autobiography of Cellini in 1946. The extremely distinctive lines, compositions and colors in this book are full of strange, exaggerated and even perverted imaginations. It is the most intuitive and the earliest for me about Dali. Sigh. Dalí's unparalleled insight and symbolic sophistication are evident in both the inspiration and the completion of the illustrations. Each of his illustrations is like an encounter between classical, modern and surreal. Although we may not be able to accurately comprehend the logical relationship between pictures and texts, this is precisely the artistic thought from Dali's perspective, the philosophy in the irrational reality. connotation.
As an artist, Dalí is not limited to his own style, nor is he bound to a specific medium. His work, from early Impressionism to Surrealism to the return of classicism, shows the continuous growth and development of a top artist. Dali's wealth is not only in the various works of art he left behind, the strange dreams and beautiful eternal memories behind him, but more importantly, the right he left us with the courage to explore ourselves and artistic expression.
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