Dalí i Domènech, Salvador
This work, advance notice of Dalí’s great pictorial production in the thirties, is the one he showed to André Breton and the surrealist group. There is a certain resonance of Tanguy, both in the way of constructing the space and in the soft, white shapes that float on the oil painting. They are corpuscular forms in line with a hypnagogic vision, which combines the arithmetic rigidity of a numerical series, confronting, in this way, the dominant romanticism of his origins with the initial submission to a strict set of rules he learned in the magazine L’Esprit Nouveau by Ozenfant and Jeanneret (Le Corbusier). Dalí wanted to give a value to and number something indefinite.
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