{"id":16784,"date":"2026-06-05T09:23:06","date_gmt":"2026-06-05T07:23:06","guid":{"rendered":"https:\/\/www.salvador-dali.org\/oeuvre\/cataleg-raonat-dobra-grafica\/sobre-el-cataleg-raonat-dobra-grafica\/recorregut-cronologic\/"},"modified":"2026-06-09T11:35:56","modified_gmt":"2026-06-09T09:35:56","slug":"parcours-chronologique","status":"publish","type":"page","link":"https:\/\/www.salvador-dali.org\/fr\/oeuvre\/catalogue-raisonne-de-loeuvre-graphique-de-salvador-dali\/a-propos-du-catalogue-raisonne-de-loeuvre-graphique-de-salvador-dali\/parcours-chronologique\/","title":{"rendered":"Parcours chronologique"},"content":{"rendered":"\n<div class=\"wp-block-columns col-text marges is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/www.salvador-dali.org\/wp-content\/uploads\/2026\/06\/0454-Personalizado.jpg\" alt=\"\" class=\"wp-image-16545\"\/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns col-text marges is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Pour la p\u00e9riode 1924\u20131940, l\u2019\u0153uvre graphique document\u00e9e de Salvador Dal\u00ed se divise en deux p\u00e9riodes distinctes, tant sur le plan chronologique que stylistique. La premi\u00e8re, celle des ann\u00e9es 20, s\u2019ancre dans son entourage familial et amical. La seconde, dans les ann\u00e9es 30, co\u00efncide avec l\u2019installation de l\u2019artiste \u00e0 Paris \u2014 apr\u00e8s la rupture avec sa famille en raison de sa relation avec Gala \u00c9luard \u2014 et son ralliement au mouvement surr\u00e9aliste, dont il devient presque imm\u00e9diatement l\u2019une des figures majeures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019\u0153uvre graphique de la premi\u00e8re p\u00e9riode regroupe des pi\u00e8ces li\u00e9es \u00e0 la vie de l\u2019artiste \u00e0 Figueres et \u00e0 ses ann\u00e9es d\u2019\u00e9tudes \u00e0 Madrid (1922-1926). Elles ont \u00e9t\u00e9 principalement r\u00e9alis\u00e9es au moyen de techniques calcographiques, \u00e0 l\u2019exception de l\u2019ex-libris de 1925 que Dal\u00ed a dessin\u00e9 \u00e0 la plume et fait reproduire par une imprimerie locale, qui r\u00e9v\u00e8le l\u2019usage pr\u00e9coce de proc\u00e9d\u00e9s photom\u00e9caniques dans son travail. Dans leur ensemble, ces \u0153uvres t\u00e9moignent de l\u2019engagement de Dal\u00ed envers cette discipline. Parmi elles, on distinguera <em>Cap de noia<\/em>&nbsp;(T\u00eate de jeune fille), une eau-forte de 1924 accompagn\u00e9e d\u2019une maculature rejet\u00e9e intitul\u00e9e <em>Retrat del pare<\/em>&nbsp;(Portrait du p\u00e8re), imprim\u00e9e au verso de la feuille&nbsp;; ou encore <em>Estudi de nu femen\u00ed en rep<\/em>\u00f2s&nbsp;(\u00c9tude d\u2019un nu f\u00e9minin au repos), qui pr\u00e9sente l\u2019impression d\u2019une matrice en cellulo\u00efd grav\u00e9e \u00e0 la pointe s\u00e8che et tir\u00e9e \u00e0 la poudre de graphite.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ces deux estampes ont \u00e9t\u00e9 r\u00e9alis\u00e9es alors que Dal\u00ed \u00e9tait \u00e9tudiant \u00e0 Madrid, \u00e0 la Escuela Especial de Pintura, Escultura y Grabado (\u00c9cole sp\u00e9ciale de peinture, de sculpture et de gravure) de la Real Academia de San Fernando. C\u2019est une p\u00e9riode tourment\u00e9e&nbsp;: fin octobre 1923, lors de sa deuxi\u00e8me ann\u00e9e d\u2019\u00e9tudes, Dal\u00ed est renvoy\u00e9 de l\u2019\u00c9cole. Mais le jeune artiste continue de travailler avec ardeur ; de retour \u00e0 Figueres, il poursuit sa formation aux c\u00f4t\u00e9s de Juan N\u00fa\u00f1ez, un ma\u00eetre de gravure r\u00e9put\u00e9 qui avait \u00e9t\u00e9 son professeur de dessin au lyc\u00e9e.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019\u0153uvre graphique de cette premi\u00e8re p\u00e9riode laisse aussi apparaitre l\u2019influence de plusieurs figures de r\u00e9f\u00e9rence, comme Jean-Auguste-Dominique Ingres (1780-1867), Joan Salvat-Papasseit (1894-1924), le po\u00e8te futuriste catalan, ou encore\u00a0Picasso (1881-1973), cr\u00e9ateur du cubisme avec\u00a0Georges Braque (1882-1963) et partie prenante, \u00e0 cette \u00e9poque, du mouvement artistique parisien du\u00a0Rappel \u00e0 l\u2019ordre[1]. Par ailleurs, plusieurs estampes au style intimiste, grav\u00e9es \u00e0 la pointe s\u00e8che sur cellulo\u00efd, t\u00e9moignent de la profonde amiti\u00e9 de Dal\u00ed avec\u00a0Federico Garc\u00eda Lorca (1898-1936). Enfin, l\u2019ex-libris de 1925 atteste de sa relation avec son premier m\u00e9c\u00e8ne,\u00a0Josep Puig Pujades (1883-1949), \u00e9crivain et homme politique catalan connu dans la province de G\u00e9rone.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La seconde p\u00e9riode de son \u0153uvre graphique co\u00efncide, \u00e0 partir de 1930, avec sa p\u00e9riode surr\u00e9aliste. Elle comprend des \u0153uvres majeures ex\u00e9cut\u00e9es au moyen de techniques calcographiques et destin\u00e9es, pour la plupart, \u00e0 des&nbsp;\u00e9ditions d\u2019ouvrages \u00e0 tirage limit\u00e9, produites dans des ateliers de gravure r\u00e9put\u00e9s, \u00e0 l\u2019attention d\u2019un public sp\u00e9cialis\u00e9. Ainsi, le premier frontispice r\u00e9alis\u00e9 par Dal\u00ed pour le&nbsp;<em>Second manifeste du surr\u00e9alisme<\/em>&nbsp;(1930) provient d\u2019un dessin original \u00e0 l\u2019encre de Chine, reproduit par&nbsp;phototypie et&nbsp;rehauss\u00e9 de couleurs au pochoir, un proc\u00e9d\u00e9 artisanal fran\u00e7ais de longue tradition. D\u2019autres \u0153uvres figurant dans des ouvrages parus la m\u00eame ann\u00e9e \u2014&nbsp;<em>L\u2019Immacul\u00e9e Conception<\/em>&nbsp;d\u2019Andr\u00e9 Breton et Paul \u00c9luard,&nbsp;<em>Artine<\/em>&nbsp;de Ren\u00e9 Char et&nbsp;<em>La Femme visible&nbsp;<\/em>de Dal\u00ed lui-m\u00eame \u2014 ont \u00e9t\u00e9 reproduites par&nbsp;h\u00e9liogravure&nbsp;\u00e0 partir de dessins originaux \u00e0 l\u2019encre, retouch\u00e9s \u00e0 la pointe s\u00e8che par l\u2019artiste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En 1933, Dal\u00ed signe trente illustrations pleine page pour&nbsp;<em>Les Chants de Maldoror<\/em>&nbsp;(1934), l\u2019\u0153uvre majeure du jeune po\u00e8te Isidore Ducasse, connu sous le pseudonyme de&nbsp;Comte de Lautr\u00e9amont (1846-1870), compos\u00e9e de six chants en prose. Les estampes ont \u00e9t\u00e9 reproduites par h\u00e9liogravure \u00e0 partir de dessins et de gravures \u00e0 la pointe s\u00e8che sur cellulo\u00efd, r\u00e9alis\u00e9s par l\u2019artiste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Entre 1935 et 1938, l\u2019\u0153uvre graphique de Dal\u00ed t\u00e9moigne de l\u2019influence de la culture am\u00e9ricaine, fruit de ses divers voyages aux \u00c9tats-Unis. Elle est particuli\u00e8rement flagrante dans <em>Cr\u00e2nes mous et harpe cr\u00e2ni<\/em>enne\u00a0(1935), une estampe dont la composition \u00e9voque le mouvement continu du monde urbain et moderne. En revanche, dans\u00a0<em>Cours naturel<\/em>\u00a0(1938), le recueil de po\u00e8mes d\u2019amour de Paul \u00c9luard, Dal\u00ed traduit\u00a0\u00ab les cris d\u00e9chirants venus de l\u2019Espagne r\u00e9publicaine[2]\u00a0\u00bb en pleine guerre civile espagnole. En 1939, quand \u00e9clate la Seconde Guerre mondiale, l\u2019artiste s\u2019exile aux \u00c9tats-Unis, o\u00f9 il restera jusqu\u2019en 1948.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">[1] Voir Fan\u00e9s, F\u00e9lix <em>et. al<\/em>., <em>Salvador Dal\u00ed: The Early Years<\/em>, Hayward Gallery Publishing, Londres, 1994, p. 91.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">[2] Andr\u00e9 Breton, feuille volante <em>Cours Naturel.<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Pour la p\u00e9riode 1924\u20131940, l\u2019\u0153uvre graphique document\u00e9e de Salvador Dal\u00ed se divise en deux p\u00e9riodes distinctes, tant sur le plan chronologique que stylistique. La premi\u00e8re, celle des ann\u00e9es 20, s\u2019ancre dans son entourage familial et amical. La seconde, dans les ann\u00e9es 30, co\u00efncide avec l\u2019installation de l\u2019artiste \u00e0 Paris \u2014 apr\u00e8s la rupture avec sa [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":16550,"parent":16778,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","footnotes":""},"categories":[],"tags":[],"class_list":["post-16784","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Parcours chronologique - Fundaci\u00f3 Gala - Salvador Dal\u00ed<\/title>\n<meta name=\"robots\" content=\"noindex, follow\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Parcours chronologique - Fundaci\u00f3 Gala - Salvador Dal\u00ed\" \/>\n<meta property=\"og:description\" content=\"Pour la p\u00e9riode 1924\u20131940, l\u2019\u0153uvre graphique document\u00e9e de Salvador Dal\u00ed se divise en deux p\u00e9riodes distinctes, tant sur le plan chronologique que stylistique. 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