{"id":1520,"date":"2019-05-24T10:46:12","date_gmt":"2019-05-24T10:46:12","guid":{"rendered":"http:\/\/mshop.php-dev.in\/daliparis\/dali-dans-la-troisieme-dimension\/"},"modified":"2026-02-21T10:54:06","modified_gmt":"2026-02-21T10:54:06","slug":"dali-dans-la-troisieme-dimension","status":"publish","type":"page","link":"https:\/\/www.daliparis.com\/en\/dali-dans-la-troisieme-dimension\/","title":{"rendered":"Dal\u00ed dans la Troisi\u00e8me Dimension"},"content":{"rendered":"
[vc_row css=”.vc_custom_1558695122965{padding-top: 40px !important;padding-bottom: 40px !important;}”][vc_column][vc_column_text]\n

Presentation of the Stratton Foundation Collection.<\/p>\n

By Robert and Nicholas Descharnes Experts and authors of Dal\u00ed: The Hard and the Soft, Sculptures and Objects<\/p>\n

For forty years, the Stratton Foundation has built up the largest collection of Dal\u00ed’s sculpted works, reflecting the artist’s three-dimensional vision.<\/p>\n

In his early days, while working on illustrations for Les Chants du Maldoror (1934), Salvador Dal\u00ed sculpted plaster figurines (now lost) and designed surrealist objects that were later exhibited and then produced in limited editions a few years later.<\/p>\n

When Dal\u00ed became recognized in the United States (1939-1948), he understood that representing his work and ideas in three dimensions was a powerful communication tool. He then drew sketches and models which, once selected, were transformed into sculptures and produced in different sizes so that they could be displayed both in exhibition halls and in public places as monumental sculptures.<\/p>\n

Presentation of the Stratton Foundation Collection.
In 1931, Salvador Dal\u00ed created a painting that would become iconic, The Persistence of Memory (MoMA, New York), and about ten years later he painted The Disintegration of the Persistence of Memory (1952\u20131954, Salvador Dal\u00ed Museum, St. Petersburg, Florida). The theme of malleable time, symbolized by the soft watch, was regularly interpreted by Dal\u00ed, giving rise during the second half of his career to several sculptures such as the eponymous The Persistence of Memory (1980) and The Profile of Time (1977-1984). Soft watches, such as The Nobility of Time (1977-1984), are thus integrated into various settings. It was Benjamin Levi, the famous Milanese collector, who initiated the development of Dal\u00ed’s sculptures and who perceived the artist as \u201caesthetically\u201d Italian. Mr. Levi originally met the Catalan artist for an exhibition project. This meeting gradually led to a project to create sculptures with the aim of exposing the work of this genius to a wider audience. Many of these sculptures were produced in collaboration with Enrique Sabater, Dali’s secretary.<\/p>\n

The Stratton Foundation collection features works related to the Surrealist period of the 1930s, produced by collectors and galleries who worked directly with the artist, such as the Galerie Andr\u00e9 Fran\u00e7ois Petit in Paris for Mannequin javanais (1969), based on the eponymous illustration created in 1934, or Yin et Yang (1968) from Ampurdanese Yin et Yang (1936).<\/p>\n

Max Clarac produced surrealist objects and sculptures for the Galerie du Dragon, the most famous being the Venus with Drawers (1964), designed in 1936 with the help of Marcel Duchamp (today, the plaster mold is at the Art Institute of Chicago). In 1964, Dal\u00ed designed two other Venuses of similar size to the famous sculpture kept at the Louvre Museum. The Topological Metamorphosis of the Venus de Milo aux Tiroirs was exhibited on numerous occasions, notably in 2006 at the entrance to the Dal\u00ed retrospective at the Ludwig Museum in Cologne.<\/p>\n

\u201cGold is the celebration of the soul\u201d Salvador Dal\u00ed<\/p>\n

His fascination with jewelry and precious metals led Dal\u00ed to work with Duke Fulco Di Verdura in 1941. This collection was acquired by the Owen Cheatham Foundation in the United States. In 1945, the Catalan artist paid tribute to one of the most famous Italian goldsmiths of the Renaissance, Benvenuto Cellini (1500-1571), by illustrating his autobiography. In the 1960s, Mafalda Marouf Davis, a close friend of King Farouk, invited Dal\u00ed to design several gold objects, some of which remain in the draft stage.<\/p>\n

These creations include the Surrealist Cutlery Set in vermeil (1962), the Comb Watch (1965), and the Cup for Not Drinking (1964). Towards the end of the 1960s, Dal\u00ed designed a series of objects called Les Dali d’Or for Jean-Paul Schneider, using coins bearing his portrait and that of Gala. Some sculpture projects existed primarily in the form of jewelry, such as the Space Elephant created by the Cheatham Foundation (1961), the sketch for which dates back to 1956. Later, sculptures were produced in the Dal\u00ed spirit in the form of precious stone objects, emphasizing his passion for goldsmithing.<\/p>\n

According to No\u00ebl Daum, Dal\u00ed \u201cis one of the first artists, if not the first, to offer models.\u201d As a creator of forms and ideas, Dal\u00ed strongly believed in creating models in new materials with which he had very little knowledge. He quickly announced that \u201cglass paste is a Dalinian material, and I have used it to create masterpieces that will now be part of our lives. I am enchanted by this new material, which has the molecular elasticity of a snail and the consistency of a train station in Perpignan.\u201d Around the end of the 1950s, during his walks on Cap de Creus, Dal\u00ed collected various materials that he transformed and adapted. At the same time, he designed plates and Venus de Milo sculptures, which were produced by Maison Daum until the end of his life.
Offering a large collection of Salvador Dal\u00ed’s work today is synonymous with years of research, armed with patience and passion, in galleries and among collectors. <\/p>\n

From major historical figures to pillars of literature, Dal\u00ed found inspiration in many sources. For example, in 1971, the artist painted Louis XIV, the Sun King, which later became the sculpture Surrealist Knight (1971-1984).
Other heroes from literature, such as Lady Godiva and Alice in Wonderland, were reborn as sculptures in Dal\u00ed’s universe. The young heroine created by Lewis Carroll (1832-1898) is omnipresent in the artist’s work, with her skipping rope. She appears around 1934-1936 in the painting The Morphological Echo, transformed into a bell tower, then is represented in other paintings and finally becomes a bronze sculpture in 1984.
The unicorn from Greek mythology and the narwhal from the marine world, and in particular their horns, were used by Dal\u00ed to recreate Vermeer’s The Lacemaker in May 1955 at the Vincennes Zoo for his first film with Robert Descharnes: The Surprising Adventure of the Lacemaker and the Rhinoceros. The horn is the keystone of creation; the tip of the rhinoceros horn can purify water. This idea is developed in the sculpture The Unicorn (1984), based on the model The Agony of Love (c. 1977-1978). <\/p>\n

\u201cMy battle […] against skepticism, in the name of Faith […],\u201d Salvador Dal\u00ed
Angels bearing messages, which in psychoanalysis can represent manifestations of the subconscious that guides us, appear throughout Dal\u00ed’s work. We find them in the sculptures The Vision of the Angel (1977-1984), The Triumphant Angel (1976-1984) and even The Snail and the Angel (1976-1984), which were originally three gouaches, later adapted into three-dimensional forms. The snail, a hermaphrodite, lazy but also a symbol of Knowledge, is essentially very Dal\u00ed-esque, with its soft shell and the notion of Time passing slowly.
St. George, hero of Christianity and the Western Crusades, immortalized by the legend of his battle with the Dragon, was also a great source of inspiration for Dal\u00ed. In 1977, he painted a gouache that would later become the sculpture St. George and the Dragon (1977-1984). It is currently in the Vatican collection.
In addition to the creatures that are an integral part of the artist’s iconographic repertoire, such as flies, butterflies, grasshoppers, lions, and horses, one pachyderm stands out: the Elephant. First there is Surus, Hannibal’s elephant (247-183 BC), a famous war animal that historically passed through Catalonia, Dal\u00ed’s homeland, before crossing the Pyrenees and continuing on to Rome. The elephant symbolizes the four pillars of the world, like Knowledge and Memory. The artist also plays with double images, notably in his 1937 work entitled Swans Reflecting Elephants. This association was transformed into bronze in 1967. Dal\u00ed installed monumental elephants in the gardens of the castle in P\u00fabol. The Space Elephant (1980) supports a pyramid, which is the pure geometric form symbolizing a variety of elements, like Bernini’s (1598-1680) elephant in Rome.<\/p>\n

The Stratton Foundation collection has been exhibited around the world for twenty years and is regularly enriched with new pieces. The collection has also collaborated with other institutions, such as Mitsukoshi in Tokyo in 1991 with the Gala-Dal\u00ed Foundation and the Spanish Embassy. Monumental pieces have also been exhibited in European capitals, such as on the Place Vend\u00f4me in Paris in 1995.
The collection thus fulfills Dal\u00ed’s desire to extend his surrealist vision and represent the symbols of his work in three dimensions, revealing his vision and ideas to a wide audience and giving them food for thought.
In a constantly changing world, the Catalan master remains an icon of the 20th century, even for new generations.<\/p>\n

Robert Descharnes<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

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