According to Breton, Dalí had reduced Surrealism to popular entertainment.It is undeniable that Dalí courted a mass market for his works.Following his arrival in the United States in 1934, the artist designed magazine covers, participated in the television show “What’s my Line”, and produced advertisements for products ranging from perfume and lipstick to Alka-Seltzer.
Telephone frappé, mint-colored telephone, aphrodisiac telephone, lobster-telephone, telephone sheathed in sable for the boudoirs of sirens with fingernails protected with ermine, Edgar Allan Poe telephone with a dead rat concealed within …
The Lobster Telephone was not the only household item that Dalí produced.
In 1918, French poet Pierre Reverdy published an essay, The Image, in which he proposed a style of writing that would juxtapose “two more or less distant realities” connected by the imagination.
The resulting image would not simply copy the world. Inspired by Sigmund Freud, the writer André Breton extended Reverdy’s idea in manifestos published in 19 that encouraged artists to abandon rational control of their creativity.
Dalí’s wife, Russian-born Elena Ivanovna Diakonova (known as Gala), was a crucial partner in her husband’s success.
Contributing to recent scholarship that showcases the active role of women in Surrealism, an exhibition at the Museu Nacional d’Art de Catalunya reveals that Gala was more than a muse or model.
A version of the work with a vivid scarlet upholstery was acquired by the Victoria & Albert Museum in 2018.
If Freud convinced bourgeois families that their lives were the stuff of Greek tragedy, Dalí suggested that world was fantastical because the individual psyche made it so.
An early painting, The Enigma of Desire, My Mother, My Mother, My Mother (1929) is an erotic dream work indebted to Freudian psychology.
The artist’s mother is portrayed as a monumental rock with the words “Ma mère” etched into caverns on its surface.