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About christymom
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Epinions.com ID:
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christymom
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Member Since:
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May 16 '00
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Activity Summary
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Reviews Written: 27
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Member Visits: 463
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Total Visits: 6,079
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About christymom
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Here is one of my favorite paintings by Salvador Dali
The Hallucinogenic Toreador (1969-70)
Dalí conceived this painting, The Hallucinogenic Toreador, while in an art supply store in 1968. In the body of Venus, on a box of Venus pencils, he saw the face of the toreador. This double image painting repeats the image of the "Venus de Milo" several times in such a way that the shadows form facial features. Start with the green skirt, and make it into a man's necktie. The white skirt becomes his shirt. Travel up the figure. Her abdomen becomes his chin, her waist is his mouth, and her left breast is the nose. The pink arch forms the top of the head with the arena at the top as his hat. The red skirt on the right Venus is his red cape. The tear in his eye, at the nape of Venus' neck, is shed for the bull.
The toreador appears again in a different, standing pose in the shadows on the Venus. This figure of the toreador is also shown separated from the Venus glowing yellow with arms raised in dedication of the bull to Gala. She appears in the upper left hand corner also surrounded by yellow. Dalí painted Gala with a frown because she disliked bullfights.
The image of the dying bull emerges from the rocky terrain of Cape Creus that appears to the left of the toreador's neck tie. A large gadfly replaces the bull's eye, referring to the myth of St. Narciso in which gadflies drove away French invaders of Catalonia. What might at first appear to be a pool of blood beneath the dying bull is really a translucent bay. On this bay a woman floats on a yellow raft. This seeming incongruity symbolizes the "modern tourist invasions of Cape Creus which even the flies of St. Narcisco have been unable to halt!" [Dalí once remarked that he was not too worried about the profanation of his beloved Cape Creus because its rocks would "eventually vanquish the... tourist, and time would destroy the litter they leave everywhere."]
To complete the story of Dalí's Spain, the small boy in the corner holding a hoop and fossil bone is Dalí himself in his familiar sailor outfit. This painting is a grand celebration of Dalí's career referring to his homeland, to his interest in optical illusions and nature of representation, and to his love of Spanish culture. As Dalí said, this is "all of Dalí in one painting."
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