Spellbound (Alfred Hitchcock, 1945)
Un Chien Andalou (Luis Buñuel, 1929)
Salvador Dali for Playboy, December, 1974
William Tell Group by Salvador Dali, 1942-1943
Monday Dali ~Untitled - for the campaign against venereal disease 1942
via History of Art
“When Breton discovered my painting, he was shocked by the scatological elements that stained it. This surprised me. I started from shit, which from the psychoanalytic point of view could be interpreted as the happy omen of the god that – fortunately! – threatened to pour down on me. Subtly, I tried to make the surrealists believe that these scatological elements could only bring luck to the movement. Invoke though I might the digestive iconography of all ages and all civilizations – the hen that laid the golden eggs, the intestinal delirium of Danae, the ass whose dung was gold – they refused to trust me. I made up my mind at once. Since they would have nothing to do with the shit I offered them so generously, I would keep these treasures and this gold for myself.” — Salvador Dalí, Diary of a Genius (from entry dated May 1st, 1952)
Virgin Auto-Sodomized by the Horns of Her Own Chastity by Salvador Dali, 1954
Advertisement for Bryans hosiery by Salvador Dali, 1944
Salvador Dali - The Loplop bird returns, n.d.
Salvador Dalí. Argus, 1960. Hand coloured drawing.
L’ Age d’ Or
Salvador Dalí and Lotte Tarp by Werner Bokelberg, 1965
Sunday Dalí: Combinations (or The complete dalinian phantasm: hunts, keys, nails, etc.), 1931. Gauche on paper, 5½ x 3½ inches. Private collection, New York, NY.
This painting, which is clearly influenced by Magritte’s works such as The Key of Dreams (1930) and may have influenced Magritte’s The Eternally Obvious in the way that the main images are broken up and compartmentalized.
This painting also prominently features ants, the largest concentration of which are covering the woman’s pubic area, resembling hair. The ants recall a time when Dalí, as a boy, discovered a dead animal with ants crawling through it. In his paintings, the ants typically symbolize death. Their placement in this painting suggests a sexual frustration and/or fantasy. The oversized key, which also protrudes from the woman’s vulva suggests Dalí’s sexual fantasies.
Masked Mermaid in Black
Salvador Dali, 1939