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98-511: In May 1963 the Smolin Gallery sponsored innovative Wolf Vostell events on TV. Do it yourself Dé-coll/age featured visitors to the gallery who were encouraged to use their own DIY liquids to create poster art on the walls and Wolf Vostells installation Television Décollage ( 6 TV Dé-coll/age ) was shown. The gallery sponsored the Yam Festival and served as an information center during

196-578: A "paranoiac of geometrical temperament". Dalí's first New York exhibition was held at Julien Levy 's gallery in November–December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The New Yorker critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares". Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris. They later remarried in

294-592: A Church ceremony on 8 August 1958 at Sant Martí Vell. In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala, who herself engaged in extra-marital affairs, seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of her. The "tense, complex and ambiguous relationship" lasting over 50 years would later become

392-526: A bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Jesus Christ , with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait". Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and

490-476: A billiard cue and leading a pair of Russian wolfhounds and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply into the human mind." Dalí's first solo London exhibition was held at the Alex, Reid, and Lefevre Gallery the same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although

588-471: A bookshop in Barcelona, supplied him with books and magazines on Cubism and contemporary art. On 6 February 1921, Dalí's mother died of uterine cancer. Dalí was 16 years old and later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul." After

686-565: A charity event which attracted national attention but raised little money for charity. The Museum of Modern Art held two major, simultaneous retrospectives of Dalí and Joan Miró from November 1941 to February 1942, Dalí being represented by forty-two paintings and sixteen drawings. Dalí's work attracted significant attention of critics and the exhibition later toured eight American cities, enhancing his reputation in America. In October 1942, Dalí's autobiography, The Secret Life of Salvador Dalí

784-627: A claim which Dalí denied. While the majority of the Surrealist group had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading Surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention". Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism. Later in 1934, Dalí

882-501: A delirium of auto-strangulation". On 14 December, Dalí, aged 32, was featured on the cover of Time magazine. From 1933 Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice. From 1936 Dalí's main patron in London was the wealthy Edward James who would support him financially for two years. One of Dalí's most important paintings from

980-603: A fanatic." Dalí was delighted upon hearing later about this comment from his hero. The following day Freud wrote to Zweig "...until now I have been inclined to regard the Surrealists, who have apparently adopted me as their patron saint, as complete fools.....That young Spaniard, with his candid fanatical eyes and his undeniable technical mastery, has changed my estimate. It would indeed be very interesting to investigate analytically how he came to create that picture [i.e. Metamorphosis of Narcissus ]." In September 1938, Salvador Dalí

1078-593: A joint project with a sculpture from each other in their museums. Vostell was the first artist to integrate a television set into a work of art. This installation was created in 1958 under the title The black room and is now part of the collection of the art museum Berlinische Galerie in Berlin. Early works with television sets are Transmigracion I-III from 1958 and Elektronischer Dé-coll/age Happening Raum ( Electronic Dé-coll/age Happening Room ) an Installation from 1968. In 1974, his first major retrospective took place in

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1176-663: A permanent exhibition. In 1990, Vostell's triptych 9 November 1989 and design drawings for it were exhibited for the first time in the eastern part of Berlin in the gallery at Weidendamm in Friedrichstraße 103. In 1992 the city of Cologne honoured Vostell with a retrospective of his work. His works were exhibited at six venues: the Cologne City Museum, the Kunsthalle Köln, the Rheinische Landesmuseum Bonn,

1274-633: A pioneer of video art with the installation 6 TV Dé-coll/age in the collection of the Museo Reina Sofía Madrid and with the video Sun in your head. In 1965 he took part in the 24-hour happening at the Galerie Parnass in Wuppertal. In 1967 he dealt with the Vietnam War in the happening Miss Vietnam. In 1968, in collaboration with the composer Mauricio Kagel and others, he founded Labor e.V., which

1372-455: A series of paintings and drawings in his Spanish studio, which show the theme Tauromaquia. Large-format canvases show bulls, mostly bleeding and torn to shreds. He made assemblages in which he combined painted bull heads with light bulbs, car parts or other objects. From the early 1960s on Vostell worked with concrete, which became a kind of distinctive feature of his works. He created sculptures, like his car-concrete sculptures. He also processed

1470-528: A sister, Ana María, who was three years younger, and whom Dalí painted 12 times between 1923 and 1926. His childhood friends included future FC Barcelona footballers Emili Sagi-Barba and Josep Samitier . During holidays at the Catalan resort town of Cadaqués , the trio played football together. Dalí attended the Municipal Drawing School at Figueres in 1916 and also discovered modern painting on

1568-678: A strong Futurist and Cubist influence was the watercolor Night-Walking Dreams (1922). At this time, Dalí also read Freud and Lautréamont who were to have a profound influence on his work. In May 1925 Dalí exhibited eleven works in a group exhibition held by the newly formed Sociedad Ibérica de Artistas in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. Several leading critics praised his work. Dalí held his first solo exhibition at Galeries Dalmau in Barcelona, from 14 to 27 November 1925. This exhibition, before his exposure to Surrealism, included twenty-two works and

1666-620: A summer vacation trip to Cadaqués with the family of Ramon Pichot , a local artist who made regular trips to Paris. The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1918, a site he would return to decades later. In early 1921 the Pichot family introduced Dalí to Futurism . That same year, Dalí's uncle Anselm Domènech, who owned

1764-645: A surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and other limp watches shown being devoured by ants. Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932. The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted

1862-716: A totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college [ collage ]". The critical response to the society portraits in the exhibition, however, was generally negative. In November–December 1945 Dalí exhibited new work at the Bignou Gallery in New York. The exhibition included eleven oil paintings, watercolors, drawings, and illustrations. Works included Basket of Bread , Atomic and Uranian Melancholic Ideal , and My Wife Nude Contemplating her own Body Transformed into Steps,

1960-645: Is Sweeter than Blood (1927) and Gadget and Hand (1927), were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, Honey is Sweeter than Blood , as "equidistant between Cubism and Surrealism". The works featured many elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among

2058-601: Is in the Street , took place in Paris in 1958, and incorporated auto parts and a TV. Impressed by the work of Karlheinz Stockhausen , which he encountered in the electronic studios of the German radio station WDR , he created his electronic TV Dé-coll/age in 1959. This marked the beginning of his dedication to the Fluxus Movement, which he co-founded in 1962. During this period, Vostell

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2156-891: The Dalí Theatre-Museum in Figueres , Spain, and the Salvador Dalí Museum in St. Petersburg, Florida , U.S. Salvador Dalí was born on 11 May 1904, at 8:45 am, on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordà region , close to the French border in Catalonia, Spain. Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950)

2254-705: The Fluxus movement and the work of both artists involved a critique of the fetishization of television and the culture of consumption. The catalogue raisonné of his screen prints and posters has been published in the Nouvelles de l'estampe by Françoise Woimant and Anne Moeglin-Delcroix in 1982. In 1992, the town of Cologne honoured Vostell with a major retrospective of his work. His pieces were distributed over 6 exhibition venues: Stadtmuseum Köln, Kunsthalle Köln, Rheinisches Landesmuseum Bonn, Kunsthalle Mannheim, Schloss Morsbroich Leverkusen and Städtisches Museum Mülheim / Ruhr. Under

2352-732: The Monterey Peninsula , California. Dalí spent the winter of 1940–41 at Hampton Manor, the residence of Caresse Crosby , in Caroline County, Virginia, where he worked on various projects including his autobiography and paintings for his upcoming exhibition. Dalí announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April–May 1941. The exhibition included nineteen paintings (among them Slave Market with

2450-491: The Moors . Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí said of him, "[we] resembled each other like two drops of water, but we had different reflections." He "was probably the first version of myself but conceived too much in the absolute". Images of his brother would reappear in his later works, including Portrait of My Dead Brother (1963). Dalí also had

2548-552: The 1950s Wolf Vostell has thematized the Holocaust in numerous works. Wolf Vostell did not want to express with his outward appearance that he was Jewish by his appearance he rather carried his values to the outside world and thus directed himself unambiguously against the danger of suppressing or even forgetting the extermination of European Jews by the German National Socialists. With his temple curls, fur hat and caftan, he

2646-497: The 1950s on. As early as 1958 he thematized the Second World War and the Holocaust in the installation Das schwarze Zimmer (The Black Room). The Korean War and the Vietnam War became themes of his works, as they did with his 1968 blurred Miss America. The assassination of John F. Kennedy and other international political events were the subject of his paintings and assemblages. Vostell also thematized domestic political topics of

2744-645: The 1960s Vostell worked with the technique of blurring. With a mixture of turpentine and carbon tetrachloride, photographs in magazines can be blurred. The cycle Kleenex from 1962, Kennedy before Corham from 1964, Goethe Today from 1967 and Homage to Henry Ford and Jaqueline Kennedy from 1967 are examples of Wolf Vostell's blurred images. He combined dé-coll/age with blurring like in Jayne Mansfield from 1968 and Marilyn Monroe from 1962 or Hours of fun from 1968. Vostell dealt with world political events in his artistic work from

2842-593: The 1980s, he proposed a joint project with Salvador Dalí whom he met in 1978. This was realized as one of Dalí's last projects in 1988, shortly before his death. Vostell carried out a work of Dalí, which Dalí had already conceived in the 1920s. El fin de Parzival (the end of the Parzival) consists of 20 motorcycles of the Guardia Civil from the time of the Franco regime, five of which are fastened on top of each other and backed by

2940-474: The 1990s, Vostell's private library has been part of the archive. His work is documented photographically and is also part of the archive, which has been housed in the "Museo Vostell Malpartida" since 2006. Vostell initiated further happenings, among others 9-Nein-dé-coll/agen in Wuppertal in 1963, the Happening You in New York in 1964 and others in Berlin, Cologne, Wuppertal and Ulm. In 1963 Wolf Vostell became

3038-677: The ARC 2 at the Musée d'Art Moderne de la Ville de Paris , an expanded version of which was shown at the Neue Nationalgalerie , in 1974. Wolf Vostell's automobile-concrete-sculptures made from cars and concrete are to be found in Cologne Ruhender Verkehr ( Stationary traffic ) from 1969, Concrete Traffic from 1970 in Chicago, VOAEX ( Viaje de (H)ormigón por la Alta Extremadura ) from 1976 in

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3136-503: The Amusements Area of the exposition. It featured bizarre sculptures, statues, mermaids, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes, and Murray Korman. Dalí was angered by changes to his designs, railing against mediocrities who thought that "a woman with the tail of a fish is possible; a woman with the head of a fish impossible." Soon after Franco 's victory in

3234-707: The Archive. Wolf Vostell's extensive oeuvre is documented in photographic form and makes up part of the archive. About 50000 documents from four decades make the Vostell Archive a treasure of art history. Since 2005 the archive has been housed in the Museo Vostell Malpartida and is available to art historians, journalists and scholars. In 1989 the Art'otel Berlin Kudamm opened, which Wolf Vostell has as its theme and thus became

3332-778: The Daily Telegraph critic wrote: "These pictures from the subconscious reveal so skilled a craftsman that the artist's return to full consciousness may be awaited with interest." In December 1936 Dalí participated in the Fantastic Art, Dada, Surrealism exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The painting Soft Construction with Boiled Beans (Premonition of Civil War) (1936) attracted particular attention. Dalí later described it as, "a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in

3430-717: The Dalís in France. Following the German invasion, they were able to escape because on 20 June 1940 they were issued visas by Aristides de Sousa Mendes , Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. Dalí and Gala were to live in the United States for eight years, splitting their time between New York and

3528-628: The Disappearing Bust of Voltaire and The Face of War ) and other works . In his catalog essay and media comments, Dalí proclaimed a return to form, control, structure and the Golden Section . Sales however were disappointing and the majority of critics did not believe there had been a major change in Dalí's work. On 2 September 1941, he hosted A Surrealistic Night in an Enchanted Forest in Monterey,

3626-585: The Federal Republic. The student revolts, the economic miracle and the criticism of capitalism are documented in his works. The Cold War and the Bosnian War are present in his works. Wolf Vostell documented and processed the fall of the Berlin Wall in more than 50 works. From the 6 meter wide triptych 9 November 1989 to smaller works, Vostell created a further cycle of works after the fall of the Berlin Wall. Over

3724-579: The Fondazione Mudima in Milan, on public streets and squares and in other museums and private collections worldwide. Salvador Dal%C3%AD Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol gcYC (11 May 1904 – 23 January 1989), known as Salvador Dalí ( / ˈ d ɑː l i , d ɑː ˈ l iː / DAH -lee, dah- LEE ; Catalan: [səlβəˈðo ðəˈli] ; Spanish: [salβaˈðoɾ ðaˈli] ),

3822-850: The Kunsthalle Mannheim, the Schloss Morsbroich in Leverkusen and the Kunstmuseum Mülheim an der Ruhr. Under the artistic direction of David Vostell, the documentary film Vostell 60 - Retrospective 92 was produced about this retrospective. Since 1989, the 1969 car-concrete sculpture Resting Traffic, for which Vostell cast an Opel Kapitän in concrete, has stood on the central reservation of the Hohenzollernring in Cologne. Other car-concrete sculptures are Concrete Traffic from 1970 in Chicago, in

3920-865: The Museo Vostell Malpartida V.O.A.E.X. from 1976 and Two Concrete Cadillacs in the shape of the naked Maja in Berlin from 1987. Further works are to be found in the Center for Art and Media Technology, the Haus der Geschichte der Bundesrepublik Deutschland, the Germanisches Nationalmuseum, the Rheinisches Landesmuseum Bonn, the Museo Reina Sofia, the Musée d'art moderne de la Ville de Paris, the Musée d'Art Moderne et Contemporain de Strasbourg,

4018-470: The Museo Vostell Malpartida in Malpartida de Cáceres , Spain and Zwei Beton-Cadillacs in Form der nackten Maja ( Two Concrete Cadillacs in form of the Naked Maja ) from 1987 in Berlin. Vostell also gained recognition for his drawings and objects, such as images of American B-52 bombers, published under the rubric " capitalist realism " and as a result of his inclusion of television sets with his paintings. Nam June Paik and Vostell were both participants in

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4116-410: The Parisian École nationale supérieure des beaux-arts and in 1957 the Düsseldorf Art Academy. Vostell's Happening Das Theater ist auf der Straße from 1958 in Paris was the first happening in Europe. His happening Cityrama of 1961 in Cologne was the first happening in Germany. Vostell produced objects with televisions and car parts. Influenced by the work of Karlheinz Stockhausen in the electronic studio of

4214-527: The Prado, where, pencil in hand, I analyzed all of the great masterpieces, studio work, models, research.' Those paintings by Dalí in which he experimented with Cubism earned him the most attention from his fellow students, since there were no Cubist artists in Madrid at the time. Cabaret Scene (1922) is a typical example of such work. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including Dada and Futurism . One of his earliest works to show

4312-421: The Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism and praising Catholicism and the Falange . As a result, Buñuel broke off relations with Dalí. In the May issue of the Surrealist magazine Minotaure , André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and that the over-refinement of his paranoiac-critical method

4410-419: The State Department. Dalí also published a novel Hidden Faces in 1944 with less critical and commercial success. In the catalog essay for his exhibition at the Knoedler Gallery in New York in 1943 Dalí continued his attack on the Surrealist movement, writing: "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to

4508-399: The Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his paranoiac-critical method of accessing the subconscious for greater artistic creativity. Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala and saw his connection to the Surrealists as

4606-428: The TV sets. In Berlin, he created large-format paintings such as the Triptych Berlin from 1990, the cycle Weinende from 1992 and Weinende Hommage an Anne Frank. Bronze sculptures like Berlinerin from 1994 in a small edition. Graphic works, sculptures and assemblages such as Arc de Triomphe N°1 from 1993, Ritz from 1998 and multiples such as Berliner Brot from 1995. During a stay in Paris in September 1954, Vostell read

4704-403: The TV, the same model that the public has at home, and I defamiliarize it, and this is conceivably shocking... The real disturbance is that their well-known objects, their spoon, their lipstick, their status symbols, their cars are used, and therein lies the content... It is (art)work with familiar objects that causes such disturbances in thinking, in consciousness." In the 1960s, Vostell founded

4802-448: The Vostell Archive. With great fervour and strict consistency, Wolf Vostell collected photographs, artistic texts, private correspondence with colleagues such as Nam June Paik , Allan Kaprow , Dick Higgins and many others, as well as press cuttings, invitations to exhibitions and events or books and catalogues which document wolf Vostell's work and that of his contemporaries. His private library with more than 6000 books has formed part of

4900-435: The WDR, electronic TV-Dé-coll/agen were produced in 1959. This marked the beginning of his involvement in the Fluxus movement, which he co-founded in 1962. In 1959 Vostell founded the Vostell-archive. Wolf Vostell collected photographs, artistic texts, personal correspondence with companions like Nam June Paik, Joseph Beuys, Dick Higgins, as well as other objects, which documented the work of the artists of his generation. Since

4998-449: The artistic direction of David Vostell , the documentary Vostell 60 - Rückblick 92 ( Vostell 60 - Review 92 ) was created. Vostell's grave is at the Cementerio Civil de la Almudena in Madrid . From 1950 on, Vostell implemented his first artistic ideas, in 1953 he began an apprenticeship as a lithographer and attended the Werkkunstschule at the Bergische Universität with Ernst Oberhoff in Wuppertal. On 6 September 1954 in Paris, he found

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5096-477: The canvas. In his concrete car sculptures, such as Ruhender Verkehr / Stationary Traffic (1969) and Concrete Traffic (1970), Vostell foregrounded these art objects' relationship to the everyday. For Vostell, it was important that these concrete car sculptures be placed an urban setting among other, operational cars. Vostell spoke about de-familiarization provoked by unusual modes of encountering everyday objects: "I show that there are different realities...I take

5194-545: The collections of the Museo Reina Sofía in Madrid. The Smolin Gallery sponsored two innovative Wolf Vostell events on TV; the first, Wolf Vostell and Television Decollage , featured visitors to the gallery who were encouraged to create poster art on the walls. In 1967 his Happening Miss Vietnam dealt with the subject of the Vietnam war. In 1968, he founded Labor e.V., a group that was to investigate acoustic and visual events, together with Mauricio Kagel , and others. In 1978 he met Salvador Dalí , with whom he would later create

5292-488: The concrete liquid as a color for his paintings and drawings. He also painted with liquid concrete, acrylic paint and charcoal. In his paintings and drawings you can see many times drawn concrete blocks. Human bodies can often be recognized as angular concrete forms. In the 1980s and 1990s he worked with liquid lead. He poured liquid lead over his canvases, combining acrylic paint, liquid lead and liquid concrete. Wolf Vostell also worked with gold leaf, which he applied directly to

5390-543: The death of Dali's mother, Dalí's father married her sister. Dalí did not resent this marriage, because he had great love and respect for his aunt. In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts). A lean 1.72 metres (5 ft 7 + 3 ⁄ 4  in) tall, Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in

5488-471: The decades a political work was created in Vostell's work. Beginning in 1958 Vostell integrated television sets into his works. Pictures, assemblages, installations and sculptures by Wolf Vostell are often designed with TV sets. Most of the time the sets are set to normal program. Thus Wolf Vostell incorporates topicality and current events into his works. From 1976 Vostell travelled regularly between Berlin and Malpartida de Cáceres. During this time he created

5586-593: The event. The Yam Festival , held at George Segals farm, in New Brunswick was venue on May 19, 1963 to actions and Happenings by artists including Dick Higgins , Allan Kaprow , La Monte Young and Wolf Vostell who made the happening TV Burying . In 1965, Doris Totten Chase gave her first solo New York exhibition at the Smolin Gallery, featuring paintings on wood. She exhibited a series of small painted sculptures inset with hinged sections which opened to reveal additional painted sections. Wolf Vostell Wolf Vostell (14 October 1932 – 3 April 1998)

5684-440: The first time that "[t]he only difference between me and a madman is that I am not mad." The heiress Caresse Crosby , the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head. A Paris newspaper later claimed that the Dalís had dressed as the Lindbergh baby and his kidnapper ,

5782-603: The installation Das schwarze Zimmer (The Black Room), which is installed in a dark room with black painted walls, in the Galerie Parnass. In 1964 Vostell initiated the Happening In Ulm, around Ulm and around Ulm - in the same year he had his first exhibition participation in the 13th exhibition of the Deutscher Künstlerbund in Berlin. In 1965 the Happenings Berlin 100 Ereignisse and 1967 Miss Vietnam followed. He often took up political and social themes. Between 1965 and 1969, exhibitions, happenings, multiples and publications were created in collaboration with René Block. In 1968 he created

5880-818: The late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory , was completed in August 1931. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments. Dalí's artistic repertoire included painting, sculpture, film, graphic arts, animation, fashion, and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays, and criticism. Major themes in his work include dreams,

5978-410: The mid-1920s Dalí grew a neatly trimmed mustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter Diego Velázquez , and this mustache became a well known Dalí icon. In 1929, Dalí collaborated with Surrealist film director Luis Buñuel on the short film Un Chien Andalou ( An Andalusian Dog ). His main contribution was to help Buñuel write

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6076-499: The most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies . Dalí's last, and largest, the exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings, and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as

6174-414: The most cutting-edge avant-garde . His classical influences included Raphael , Bronzino , Francisco de Zurbarán , Vermeer and Velázquez . Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works. In

6272-424: The music of Richard Wagner's opera Parzival. Initially, Dalí intended to use bicycles. This addition was made by Vostell. In return, Wolf Vostell installed 1988 the sculpture TV-Obelisk (1979) in the Teatre-Museu in Figueres with 14 TV sets and Dalí completed the sculpture with a woman's head on the top, which he created. Inside the woman's head is a video camera that records images of the sky, which are transmitted to

6370-403: The numerous public little prepared for certain surprises." The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with Dalí. Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to

6468-425: The paintings in the Extremadura cycle, the 1976 cycle El muerto que tiene sed (The Thirsty Dead Man) or 1985 El entierro de la Sardina (The Burial of the Sardine). In the 1980s he created the installation The Winds, the painting The Battle of Anghiari from 1982, a reminiscence of Leonardo da Vinci's painting of the same name Battle of Anghiari, the cycle Milonga from 1985, and the Tauromaqie with BMW part from 1988. In

6566-407: The period of James' patronage was The Metamorphosis of Narcissus (1937). They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa . Dalí was in London when the Spanish Civil War broke out in July 1936. When he later learned that his friend Lorca had been executed by Nationalist forces, Dalí's claimed response

6664-462: The poet's death at the hands of Nationalist forces in 1936 at the beginning of the Spanish Civil War . Also in 1922, he began what would become a lifelong relationship with the Prado Museum , which he felt was, 'incontestably the best museum of old paintings in the world.' Each Sunday morning, Dalí went to the Prado to study the works of the great masters. 'This was the start of a monk-like period for me, devoted entirely to solitary work: visits to

6762-410: The public and debate among critics about whether Dalí had become a Surrealist. Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work. He submitted Dialogue on the Beach (Unsatisfied Desires) (1928) to the Barcelona Autumn Salon for 1928 but the work was rejected because "it was not fit to be exhibited in any gallery habitually visited by

6860-404: The same year. In 1973 he created the cycle Mania. 40 works in which Vostell drew on photographs from magazines and glued objects onto the photographs. In 1973 he created the installations Auto Fieber und Energie. 1976 Vostell founded the Museo Vostell Malpartida in Malpartida de Cáceres. In 1974 he realized the happening Strawberries in Berlin. From 1975 onwards, he worked on Spanish themes such as

6958-520: The script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts. In August 1929, Dalí met his lifelong muse and future wife Gala , born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet Paul Éluard . In works such as The First Days of Spring , The Great Masturbator and The Lugubrious Game Dalí continued his exploration of

7056-447: The silkscreen B-52 - instead of bombs. In 1969 - in cooperation with the gallery art intermedia of Helmut Rywelski in Cologne - Vostell created his first car-concrete sculpture Ruhender Verkehr (resting traffic). In January 1970, the Museum of Contemporary Art of Chicago sponsored a happening in which Vostell encased a 1957 Cadillac in concrete at a parking lot near the museum, creating

7154-502: The style of English aesthetes of the late 19th century. At the Residencia, he became close friends with Pepín Bello , Luis Buñuel , Federico García Lorca , and others associated with the Madrid avant-garde group Ultra. The friendship with Lorca had a strong element of mutual passion, but Dalí said he rejected the poet's sexual advances. Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until

7252-715: The subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime , his commercial activities and the quality and authenticity of some of his late works have also been controversial. His life and work were an important influence on other Surrealists, pop art , popular culture, and contemporary artists such as Jeff Koons and Damien Hirst . There are two major museums devoted to Salvador Dalí's work:

7350-511: The subject of an opera, Jo, Dalí ( I, Dalí ) by Catalan composer Xavier Benguerel. Dalí's first visit to the United States in November 1934 attracted widespread press coverage. His second New York exhibition was held at the Julien Levy Gallery in November–December 1934 and was again a commercial and critical success. Dalí delivered three lectures on Surrealism at the Museum of Modern Art (MoMA) and other venues during which he told his audience for

7448-456: The support of the art critic Sebastià Gasch  [ es ] . The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with Composition with Three Figures (Neo-Cubist Academy) singled out for particular attention. From 1927 Dalí's work became increasingly influenced by Surrealism. Two of these works, Honey

7546-531: The taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme , organized by André Breton and Paul Éluard . The Exposition was designed by artist Marcel Duchamp , who also served as host. In March that year, Dalí met Sigmund Freud thanks to Stefan Zweig . As Dalí sketched Freud's portrait, Freud whispered, "That boy looks like

7644-427: The themes of sexual anxiety and unconscious desires. Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, André Breton described Dalí's new work as "the most hallucinatory that has been produced up to now". The exhibition was a commercial success but the critical response was divided. In the same year, Dalí officially joined

7742-589: The watercolors The Couple, Family, Airplane and War Crucifixion. In 1955, he drew a cycle of ink drawings on Peter Schlemihl's miraculous story. In 1962 Vostell participated in the Fluxus manifestation Fluxus: International Festival of Contemporary Music in Wiesbaden and in 1963 in the Fluxus festival Festum Fluxorum Fluxus in Düsseldorf. In 1962 he founded the journal Dé-coll/age - Bulletin of Current Ideas. In 1963 he showed

7840-595: The word Décollage in a headline of Le Figaro (German translation: "Untie, loose the glued, separate"). Vostell changed the spelling for himself. From 1954 on he named his poster tear-offs Dé-coll/age. Later he transferred the term Dé-coll/age to his happenings. For Wolf Vostell the Dé-coll/age became a design principle and a comprehensive concept of art. Ceres from 1960, Coca-Cola, your candidate, Great Session with Da (all pictures from 1961), Wochenspiegel Beatles and Livio from 1966 are examples of Wolf Vostell's Dé-coll/agen. In

7938-475: The word décollage (i.e. to lift off, loosen, loosen the glued, separate) on the title page of Le Figaro, which was used in connection with the crash of a Lockheed Super Constellation into the Shannon. Vostell changed the spelling to Dé-coll/age and applied the term to his poster tear-offs and happenings. For Wolf Vostell, Dé-coll/age became a design principle and a comprehensive concept of art. In 1955/1956 he attended

8036-514: The work Concrete Traffic (1970). The work was moved via highway to the University of Chicago campus in 1970, where it remained for nearly four decades. The work was restored and moved to the University of Chicago campus in 2016. In 1970 Vostell moved to Berlin. In 1970 he created Heuschrecken, an installation with 20 monitors and a video camera. The installations TV-Schuhe and TEK were created in

8134-495: Was a German painter and sculptor, considered one of the early adopters of video art and installation art and pioneer of Happenings and Fluxus . Techniques such as blurring and Dé-coll/age are characteristic of his work, as is embedding objects in concrete and the use of television sets in his works. Wolf Vostell was married to the Spanish writer Mercedes Vostell and has two sons, David Vostell and Rafael Vostell. Wolf Vostell

8232-526: Was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work. Born in Figueres in Catalonia , Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age, he became increasingly attracted to Cubism and avant-garde movements. He moved closer to Surrealism in

8330-404: Was a critical and commercial success. In April 1926 Dalí made his first trip to Paris where he met Pablo Picasso , whom he revered. Picasso had already heard favorable reports about Dalí from Joan Miró , a fellow Catalan who later introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made some works strongly influenced by Picasso and Miró. Dalí

8428-531: Was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921), who encouraged her son's artistic endeavors. In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10). Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descendants of

8526-695: Was a perfect match for the image of the enemy that the propaganda of the Hitler regime had painted as an anti-Semitic stereotype, following the example of the Eastern European Jews. He exaggerated this image by using other attributes, such as ostentatious rings on his fingers and an equally thick cigar, which in slanderous caricatures from the Nazi era had been symbolically given to the "money-greedy Jewish usurer". In 1953, he initially produced traditionally produced works such as Korea and Korea Massacre (both oil on paper), War Crucifixion II (oil on canvas) as well as

8624-492: Was a repudiation of Surrealist automatism. This led many Surrealists to break off relations with Dalí. In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí". This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The outbreak of World War II in September 1939 saw

8722-489: Was also influenced by the work of Yves Tanguy , and he later allegedly told Tanguy's niece, "I pinched everything from your uncle Yves." Dalí left the Royal Academy in 1926, shortly before his final exams. His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread , painted in 1926. Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with

8820-609: Was behind many Happenings in New York, Berlin, Cologne, Wuppertal and Ulm among others. In 1962 he participated in the FLUXUS Internationale Festspiele Neuester Musik event in Wiesbaden together with Nam June Paik , George Maciunas and other artists. In 1963 Wolf Vostell became a pioneer of Video art and Installation with his work 6-TV-Dé-coll/age shown at the Smolin Gallery in New York, now in

8918-629: Was born in Leverkusen , Germany, and put his artistic ideas into practice from 1950 onwards. In 1953, he began an apprenticeship as a lithographer and studied at the Academy of Applied Art in Wuppertal . Vostell created his first Dé-coll/age in 1954. In 1955–1956, he studied at the École Nationale Superieur des Beaux Arts in Paris and in 1957 he attended the Düsseldorf Academy of Arts . Vostell's philosophy

9016-462: Was built around the idea that destruction is all around us and it runs through all of the twentieth century. He used the term Dé-coll/age , (in connection with a plane crash) in 1954 to refer to the process of tearing down posters, and for the use of mobile fragments of reality. For Vostell, Dé-coll/age is a visual force that breaks down outworn values and replaces them with thinking as a function distanced from media. His first Happening , The Theater

9114-661: Was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. This exhibition in March–April 1939 included twenty-one paintings and eleven drawings. Life reported that no exhibition in New York had been so popular since Whistler's Mother was shown in 1934. At the 1939 New York World's Fair , Dalí debuted his Dream of Venus Surrealist pavilion, located in

9212-529: Was published simultaneously in New York and London and was reviewed widely by the press. Time magazine's reviewer called it "one of the most irresistible books of the year". George Orwell later wrote a scathing review in the Saturday Book . A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible for the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel resigning his position at MoMA in 1943 under pressure from

9310-511: Was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group. To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist." In 1936, Dalí took part in the London International Surrealist Exhibition . His lecture, titled Fantômes paranoiacs authentiques , was delivered while wearing a deep-sea diving suit and helmet. He had arrived carrying

9408-544: Was to research acoustic and visual events. Vostell is regarded as the first artist who integrated a television set into a work of art. This environment from 1958, consisting of three assemblages, entitled Das schwarze Zimmer (German View, Auschwitz Spotlight 568, Treblinka) is part of the collection of the Berlinische Galerie. Early works with televisions are Transmigracion I to III, from 1958, and Elektronischer dé-coll/age Happening Raum, an installation from 1968. Since

9506-460: Was to shout: "Olé!" Dalí was to include frequent references to the poet in his art and writings for the remainder of his life. Nevertheless, Dalí avoided taking a public stand for or against the Republic for the duration of the conflict. In January 1938, Dalí unveiled Rainy Taxi , a three-dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within

9604-638: Was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be disinherited and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat . He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion. In 1931, Dalí painted one of his most famous works, The Persistence of Memory , which developed

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