Description

Author:

Salvador Dalí i Domènech - Gyula Halász, alias Brassaï

Date:

1932-1933

Technique:

Photograph and found object or object of automatic origin

Dimensions:

For this study we have taken into consideration the homothetic posthumous print run in the original format of 17 x 23 cm

Location:

Unknown. Homothetic posthumous print: Estate Brassaï Succession

Between 1932-1933, Dalí took on the artistic direction of a series of photographs made with Gyula Halász, alias Brassaï (1899-1984), in which certain objects, probably of automatic origin, acquire a new conceptual and artistic dimension, grounded in the essence of the photographic image. Several of these photographs were published anonymously in 1933 in the magazine Minotaure, under the heading ‘Sculptures involontaires’, each with a descriptive title drawing attention to details of the work. In this case, Dalí refers to the concept of ‘mental weakness’, which can also be related to the article ‘Concerning the Terrifying and Edible Beauty of Art Nouveau Architecture’, published in the same issue of Minotaure, in which Dalí defines Art Nouveau as: ‘Very accentuated decline of the reasoning faculty, extending to the verge of mental retardation'.

Observations

Bibliography

1. "Sculptures Involontaires", Minotaure, 12/1933, Paris, p. [68], ill., indirect image
2. Brassaï, Conversations avec Picasso, Gallimard, [Paris], 1964, p. 49
3. Brassaï, Picasso and company, Doubleday, New York, 1966, p. 36
4. Salvador Dalí, Oui : méthode paranoïaque-critique et autres textes, Denoël, Gonthier, Paris, 1971, between pp. 96-97, ill.
5. Rosalind Krauss, "The Photographic Conditions of Surrealism", October, vol. 19, Winter 1981, New York, NY, pp. [30]-31, ill., indirect image
6. Brassaï, Les Artistes de ma vie, Denoël, Paris, 1982, pp. 29, 34
7. Paul Éluard, Lettres à Gala: 1924-1948, Gallimard, [Paris], 1984, pp. 222, 226-227
8. Rosalind E. Krauss, Jane Livingston, L'Amour fou : photography & surrealism, The Corcoran Gallery of Art, Abbeville, Washington, D. C., New York, London, 1985, pp. 19, 21, ill.
9. Paul Richard, "Twist of the Lens. Funny and Provocative Surrealistic Photos at the Corcoran", The Washington Post, 14/09/1985, Washington, D.C.
10. Paul Éluard, Cartas a Gala: 1924-1948, Tusquets, Barcelona, 1986, pp. 189, 191-192
11. Regards sur Minotaure : la revue à tête de bête, Musée d'art et d'histoire de Genève, Genève, 1987, pp. 214, 265, ill.
12. Briony Fer, David Batchelor, Paul Wood, Realism, rationalism, surrealism : art between the wars, Yale University Press in association with the Open University, New Haven & London, 1993, pp. 209-210, ill., indirect image
13. Dalí joven, 1918-1930, Museo Nacional Centro de Arte Reina Sofía, [Madrid], 1994, p. 276, ill.
14. Dalí, els anys joves : 1918-1930, Generalitat de Catalunya. Departament de Cultura, Fundació Gala-Salvador Dalí, [Barcelona], Figueres, 1995, p. 276, ill.
15. Matthew Gale, Dada & surrealism, Phaidon, London, 1997, p. 294
16. Gérard Durozoi, Histoire du mouvement surréaliste, Hazan, Paris, 1997, p. [245], ill., indirect image
17. Haim Finkelstein, The Collected writings of Salvador Dalí, Cambridge University Press, Cambridge, 1998, p. 198
18. Surrealism: two private eyes, the Nesuhi Ertegun and Daniel Filipacchi collections, Guggenheim Museum Publications, New York, 1999, p. 723
19. Brassaï, Centre Pompidou, Seuil, Paris, 2000, pp. 134, 317, ill., indirect image
20. Christopher Green, Art in France : 1900- 1940, Yale University Press, New Haven and London, 2000, pp. 136-137, ill., indirect image
21. Rosalind E. Krauss, Jane Livingston, Dawn Ades, Explosante - fixe : photographie & surréalisme, Hazan, [S.l.], 2002, pp. 19, 21, ill.
22. Gérard Durozoi, History of the surrealist movement, The University of Chicago Press, Chicago, London, 2002, p. [242], ill., indirect image
23. Joan R. Kropf, Dalí objects / Dalí fetishes, Salvador Dalí Museum, Florida, 2002, pp. 11-12, ill., indirect image
24. Dalí Gaudí : La revolución del sentimiento de originalidad, Fundació Caixa Catalunya, Fundació Gala-Salvador Dalí, Barcelona, Figueres, 2004, p. 43, ill., indirect image
25. Dalí Gaudí : The revolution of the sentiment of originality, Fundació Caixa Catalunya, Fundació Gala-Salvador Dalí, Barcelona, Figueres, 2004, p. 43, ill., indirect image
26. Dalí Gaudí : La revolució del sentiment d'originalitat, Fundació Caixa Catalunya, Fundació Gala-Salvador Dalí, Barcelona, Figueres, 2004, p. 43, ill., indirect image
27. Mary Ann Caws, Surrealism, Phaidon, London, 2004, p. 98, ill., indirect image
28. David Bates, Photography and surrealism: sexuality, colonialism and social dissent, I. B. Tauris, London, New York, 2004, p. 84
29. Salvador Dalí i les arts : historiografia i crítica al segle XXI, Publicacions de la Universitat de Barcelona, Barcelona, 2005, pp. 93-94
30. Salvador Dalí, Obra completa : Assaigs 1, Destino, Fundació Gala-Salvador Dalí, Barcelona, [Figueres], 2005, p. 309
31. Salvador Dalí, Obra completa : Ensayos 1, Destino, Fundació Gala-Salvador Dalí, Sociedad Estatal de Conmemoraciones Culturales, Barcelona, [Figueres], [Madrid], 2005, p. 309
32. Surreal things : surrealism and design, Victoria and Albert Museum, London, 2007, p. 62, ill., indirect image
33. Guillermo Carnero, Salvador Dalí y otros estudios sobre arte y vanguardia, Institució Alfons el Magnànim - Diputació de València, [València], 2007, pp. 41, 54, 208
34. Cosas del surrealismo : surrealismo y diseño, Victoria and Albert Museum, Guggenheim Bilbao, London, Bilbao, 2007, p. 62, ill., indirect image
35. Modern sculpture reader, Henry Moore Institute, Leeds, 2007, p. 96
36. La Subversion des images : surrealisme, photographie, film, Centre Pompidou, Paris, 2009, pp. 346-347, 461, ill., indirect image
37. Salvador Dalí. Ritratto di un genio, Abscondita, Milano, 2011
38. Anna Dezeuze, Julia Kelly, Found sculpture and photography from surrealism to contemporary art, Ashgate, Farnham, UK, Burlington, VT, 2013, pp. [1]-3, 5-9, [13]-18, 30, 40, 50, 61, 99-102, ill., indirect image
39. Marc Aufraise, Salvador Dalí et la photographie: portraits du surréalisme, 1927-1942, Université Paris 1 Panthéon-Sorbonne, Paris, 2013, pp. 4, 14, 130, 145, 193-195, 204
40. William Jeffett, Juan José Lahuerta, Picasso-Dalí, Dalí-Picasso, Museu Picasso, Salvador Dalí Museum, Barcelona, Sant Petersburg, 2014, p. 40, ill., indirect image
41. William Jeffett, Juan José Lahuerta, Picasso-Dalí, Dalí-Picasso, Museu Picasso, Salvador Dalí Museum, Barcelona, Sant Petersburg, 2014, p. 40, ill., indirect image
42. Montse Aguer, Jean-Michel Bouhours, Laura Bartolomé, Bust de dona retrospectiu 1933/1976-1977, Fundació Gala-Salvador Dalí, Figueres, 2015, p. 19, ill., indirect image
43. Montse Aguer, Jean-Michel Bouhours, Laura Bartolomé, Busto de mujer retrospectivo 1933/1976-1977, Fundació Gala-Salvador Dalí, Figueres, 2015, p. 18, ill., indirect image
44. Montse Aguer, Jean-Michel Bouhours, Laura Bartolomé, Buste de femme rétrospectif 1933/1976-1977, Fundació Gala-Salvador Dalí, Figueres, 2015, p. 18, ill., indirect image
45. Montse Aguer, Jean-Michel Bouhours, Laura Bartolomé, Retrospective bust of a woman 1933/1976-1977, Fundació Gala-Salvador Dalí, Figueres, 2015, p. 19, ill., indirect image
46. Dawn Ades, Writings on art and anti-art, Ridinghouse, London, 2015, pp. 537-540, ill., indirect image
47. Laura Bartolomé, "La bellesa involuntària de les escultures Dalí-Brassaï", La Vanguardia, Cultura/s, 02-08/04/2016, Barcelona, pp. 28, 30. 31, ill., indirect image
48. Dalí / Duchamp, Royal Academy of Arts, The Dalí Museum, London, St. Petersburg, FL, 2017, p. 122, ill., indirect image

Related works

• «Symmetrically» rolled-up bus ticket, forming a rare mechanism of automatism with evident germs of stereotypes 1932-1933
• Ornamental Modern Style bread escapes the soft stereotype 1932-1933
• Piece of soap presenting Modern Style automatic shapes, found in a washbasin 1932-1933
• The morphological accident of the squeezed toothpaste does not escape the fine ornamental stereotype 1932-1933
• Rolled-up bus ticket, found in the pocket of an average bureaucrat (Crédit Lyonnais); the most frequent characteristics of «Modern Style» 1932-1933
• The Envelope ca. 1933
• Untitled. Automatic object ca. 1933
• Piece of cotton wool instantly rolled up and abandoned (category of «aborted automatisms») ca. 1933
• Untitled. Automatic object ca. 1933
• Shell ca. 1933

Related content

1. 2. Laura Bartolomé, Clara Silvestre, "La belleza involuntaria de las esculturas Dalí-Brassaï", La Vanguardia, Cultura/s, 02-08/04/2016, Barcelona.

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