Dali- surrealismo
Upload feito originalmente por Cris Guedes
"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.
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