Salvador Dalí
20th century Catalan surrealist artist
Salvador Dalí
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marqués de Dalí de Pubol, known as Salvador Dalí, was a prominent Spanish surrealist painter born in Figueres, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in 1931.
Salvador Dalí's personal information overview.
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SPECIAL REPORT: FASHION; F.I.T. Displays Daphne Guinness Collection
NYTimes - over 5 years
NEW YORK — It is the rigor that strikes the first note. In her stark black Chanel coat fitted on a wisp of a mannequin, or floating in a silvered jumpsuit on the hologram overhead, Daphne Guinness embodies an uncompromising elegance. The muse, art collector and style setter, with a linear silhouette from a platinum stripe in her upswept
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Salvador Dali exhibit to open in Moscow - (blog)
Google News - over 5 years
A general view of the Salvador Dali exhibition with a lips sofa (foreground) in the Pushkin Museum of Fine Arts in Moscow on Friday, Sept. 2. The Salvador Dali exhibition in the Pushkin Museum of Fine Arts in Moscow on Friday
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On your radar: Take in a Dalí flick, or check out the debut of a new local ... -
Google News - over 5 years
Dalí & Beyond Film Series: This free film series at the Dali Museum brings a treat for Robert Pattinson fans — Little Ashes, a Salvador Dalí biopic. But careful, Twilighters, because this is no tween flick
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PHOTOS: Remember When Salvador Dali Worked For <em>Vogue</em>? - Styleite
Google News - over 5 years
File this thing under things that would not happen today: From the 1930s to the 1970s, legendary artist Salvador Dali created a series of covers for various editions of Vogue, and most of them looked like
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Gala Opening: Lancel Launches Dalí Handbag Line With a Show of Rare Photos of ... - ARTINFO
Google News - over 5 years
By Ann Binlot When Salvador Dalí first laid eyes on Helene Dimitrievna Diakonava — or Gala, as her husband at the time, poet Paul Éluard, called her — at a Catalan beach in the summer of 1929, it was love at first sight. Immediately, he felt drawn to
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Salvador Dali Muse, Ultra Violet, Creates 9/11 Sculpture - Gothamist
Google News - over 5 years
New York-based artist Ultra Violet—who has been muse and friend of Salvador Dali and Andy Warhol—has created her own piece of art to commemorate the 10th anniversary of 9/11. The 3-foot-tall magenta piece looks just like Robert Indiana&#39;s famous LOVE
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Pier options cut to three -
Google News - over 5 years
A panel on Friday knocked out six firms vying to design a replacement for The Pier, including the Tampa firm that designed the new Salvador Dali Museum nearby. Only three firms are in the running now
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Simon Bird and Robert Popper Interview FRIDAY NIGHT DINNER -
Google News - over 5 years
POPPER: Well, we used to have a weird neighbor who looked and acted a bit like Salvador Dali. He was a very surreal man. At first, I thought I was going to have a man that looked like Salvador Dali, then I just thought of the idea as a concept
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A 'Midnight in Paris' tour takes you back to the Paris of the '20s - Washington Post
Google News - over 5 years
It&#39;s the Paris of Gil Pender, the winsome lead character in Woody Allen&#39;s “Midnight in Paris,” who is magically transported via a 1920s Peugeot back to a time when Gertrude Stein was serving up advice and aperitifs, Salvador Dali was obsessing about
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Dali exhibit comes to Armenia - Armenian Reporter
Google News - over 5 years
Yerevan - The National Gallery of Armenia is hosting &quot;Salvador Dali and the Surrealists&quot; the Argillet collection - an extraordinary exhibition which opened July 6, in Armenia&#39;s capital Yerevan and will last through the end of October
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IndyCar's Oriol Servia has Dali picture on helmet in surreal season of success - Winnipeg Free Press
Google News - over 5 years
Racer Oriol Servia drives with a picture of wide-eyed, wild-haired artist Salvador Dali on his helmet — a fitting symbol for what has become a surreal IndyCar season. Servia, of Spain, is shown giving a thumbs-up at Texas Motor Speedway in Fort Worth,
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Child's Play, Grown-Up Cash
NYTimes - over 5 years
APART from the open bar by the swimming pool, the main attraction at parties held at the Houston home of John Schiller, an oil company executive, and his wife, Kristi, a Playboy model turned blogger, is the $50,000 playhouse the couple had custom-built two years ago for their daughter, Sinclair, now 4. Cocktails in hand, guests duck to enter
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Salvador Dalí's Relatives Lose Royalty Battle Against Spain - Business Insider
Google News - over 5 years
Chalk one up for Spain: after a protracted battle, two courts have awarded royalty payments on Salvador Dalí&#39;s art to the Spanish state, overruling Dalí&#39;s heirs&#39; claims to the fortune and ending a feud that had raged since Dalí&#39;s death in 1989,
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Legal Victory by the Fundació Salvador Dalí in the Defense of the Artist's ... - Art Daily
Google News - over 5 years
A camerawoman records the latest acquisition by the Gala Salvador Dali Foundation, an oil painting of the artist titled &#39;Elementos enigmaticos de un paisaje&#39; (Enigmatic elements of a landscape, 1934) displayed at the Dali Theater Museum in Figueres,
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Dali Museum challenges window washers - MyFox Tampa Bay
Google News - over 5 years
PETERSBURG - High in the sky, some very brave men took to the glass structure that is the Salvador Dali Museum. For the first time since it opened in January, the museum got a window washing. &quot;We have this incredible structure which we call the Glass
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Learn about memorable moments in the evolution of Salvador Dalí
  • 1989
    Age 84
    On the morning of 23 January 1989, while his favorite record of Tristan and Isolde played, Dalí died of heart failure at Figueres at the age of 84.
    More Details Hide Details He is buried in the crypt below the stage of his Theatre and Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only three blocks from the house where he was born. The Gala-Salvador Dalí Foundation currently serves as his official estate. The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society. In 2002, the Society made news when it asked Google to remove a customized version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under its protection had been used without permission. Google complied with the request, but denied that there was any copyright violation. Dalí employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot August day.
  • 1988
    Age 83
    On December 5, 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.
    More Details Hide Details Dalí gave the king a drawing (Head of Europa, which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.
    In November 1988, Dalí entered the hospital with heart failure; a pacemaker had been implanted previously.
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  • 1984
    Age 79
    In 1984, a fire broke out in his bedroom under unclear circumstances.
    More Details Hide Details It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. Dalí was rescued by friend and collaborator Robert Descharnes and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his Theater-Museum in his final years.
  • 1983
    Age 78
    In May 1983, Dalí revealed what would be his last painting, The Swallow's Tail, a work heavily influenced by the mathematical catastrophe theory of René Thom.
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    The title was in first instance hereditary, but on request of Dalí changed to life only in 1983.
    More Details Hide Details Gala died on 10 June 1982, at the age of 87. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt, with claims stating he had tried to put himself into a state of suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which was the site of her death and her grave.
  • 1982
    Age 77
    In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbol (Marquis of Dalí de Púbol) in the nobility of Spain, hereby referring to Púbol, the place where he lived.
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  • 1980
    Age 75
    In 1980 at age 76, Dalí's health took a catastrophic turn.
    More Details Hide Details His right hand trembled terribly, with Parkinson-like symptoms. His near-senile wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity.
  • 1968
    Age 63
    In 1968, Dalí had bought a castle in Púbol for Gala; and starting in 1971 she would retreat there alone for weeks at a time.
    More Details Hide Details By Dalí's own admission, he had agreed not to go there without written permission from his wife. His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.
    In 1968, Dalí filmed a humorous television advertisement for chocolates.
    More Details Hide Details In this, he proclaims in French "Je suis fou du chocolat Lanvin!" ("I'm crazy about Lanvin chocolate!") while biting a morsel, causing him to become cross-eyed and his moustache to swivel upwards. In 1969, he designed the Chupa Chups logo, in addition to facilitating the design of the advertising campaign for the 1969 Eurovision Song Contest and creating a large on-stage metal sculpture that stood at the Teatro Real in Madrid. In the television programme Dirty Dalí: A Private View broadcast on Channel 4 on June 3, 2007, art critic Brian Sewell described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers.
  • 1965
    Age 60
    There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals. It is also alleged that he knowingly sold otherwise-blank signed lithograph paper, possibly producing over 50,000 such sheets from 1965 until his death.
    More Details Hide Details As a result, art dealers tend to be wary of late works attributed to Dalí.
  • 1962
    Age 57
    Dalí continued to indulge in publicity stunts and self-consciously outrageous behavior. To promote his 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure.
    More Details Hide Details He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.
  • 1960
    Age 55
    In 1960, Dalí began work on his Theatre and Museum in his home town of Figueres; it was his largest single project and a main focus of his energy through 1974, when it opened.
    More Details Hide Details He continued to make additions through the mid-1980s.
  • 1958
    Age 53
    They later remarried in a Catholic ceremony in 1958.
    More Details Hide Details 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 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 his muse. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.
  • 1948
    Age 43
    In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués.
    More Details Hide Details For the next three decades, he would spend most of his time there painting, taking time off and spending winters with his wife in Paris and New York. His acceptance and implicit embrace of Franco's dictatorship were strongly disapproved of by other Spanish artists and intellectuals who remained in exile. In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's Sistine Madonna in the International Surrealism Exhibition in New York the following year. Late in his career Dalí did not confine himself to painting, but explored many unusual or novel media and processes: for example, he experimented with bulletist artworks. Many of his late works incorporated optical illusions, negative space, visual puns and trompe l'œil visual effects. He also experimented with pointillism, enlarged half-tone dot grids (a technique which Roy Lichtenstein would later use), and stereoscopic images. He was among the first artists to employ holography in an artistic manner. In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.
  • 1947
    Age 42
    An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947.
    More Details Hide Details In 2005, a sculpture of Christ on the Cross was discovered in the friar's estate. It had been claimed that Dalí gave this work to his exorcist out of gratitude, and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.
  • 1944
    Age 39
    He also wrote a novel, published in 1944, about a fashion salon for automobiles.
    More Details Hide Details This resulted in a drawing by Edwin Cox in The Miami Herald, depicting Dalí dressing an automobile in an evening gown. In The Secret Life, Dalí suggested that he had split with Luis Buñuel because the latter was a Communist and an atheist. Buñuel was fired (or resigned) from his position at the Museum of Modern Art (MOMA), supposedly after Cardinal Spellman of New York went to see Iris Barry, head of the film department at MOMA. Buñuel then went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946. In his 1982 autobiography Mon Dernier soupir (My Last Sigh, 1983), Buñuel wrote that, over the years, he had rejected Dalí's attempts at reconciliation.
  • 1943
    Age 38
    He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943.
    More Details Hide Details Therein he attacked some often-used surrealist techniques by proclaiming, "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 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).
  • 1942
    Age 37
    In 1942, he published his autobiography, The Secret Life of Salvador Dalí.
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  • 1941
    Age 36
    In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide.
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  • 1940
    Age 35
    Salvador and Gala Dalí crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940.
    More Details Hide Details After the move, Dalí returned to the practice of Catholicism. "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes. Dalí worked prolifically in a variety of media during this period, designing jewelry, clothes, furniture, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window. Dali spent the winter of 1940-41 in at Hampton Manor, the residence of bra designer and patron of the arts Caresse Crosby, near Bowling Green in Caroline County, Virginia. During his time there, he spent his time on various projects. He was described as a "showman" by residents in the local newspaper.
    In 1940, as World War II tore through Europe, Dalí and Gala retreated to the United States, where they lived for eight years splitting their time between New York and Monterey, California.
    More Details Hide Details They were able to escape because on June 20, 1940, they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. Dalí’s arrival in New York was one of the catalysts in the development of that city as a world art center in the post-War years.
  • 1939
    Age 34
    In 1939, André Breton coined the derogatory nickname "Avida Dollars", an anagram for "Salvador Dalí", which may be more or less translated as "eager for dollars".
    More Details Hide Details 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 Surrealists, many of whom were closely connected to the French Communist Party at the time, expelled him from their movement. Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead. The Surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death, and beyond.
    At the 1939 New York World's Fair, Dalí debuted his Dream of Venus surrealist pavilion, located in the Amusements Area of the exposition.
    More Details Hide Details It featured bizarre sculptures, statues, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes and Murray Korman. Like most attractions in the Amusements Area, an admission fee was charged.
  • 1938
    Age 33
    Also in 1938, Dalí unveiled Rainy Taxi, a three-dimensional artwork, consisting of an actual automobile with two mannequin occupants.
    More Details Hide Details The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organised by André Breton and Paul Éluard. The Exposition was designed by artist Marcel Duchamp, who also served as host.
    Later, in September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera.
    More Details Hide Details There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. At the end of the 20th century, "La Pausa" was partially replicated at the Dallas Museum of Art to welcome the Reeves collection and part of Chanel's original furniture for the house.
    In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig.
    More Details Hide Details Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others that "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.
  • 1936
    Age 31
    Also in 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí became famous for another incident.
    More Details Hide Details Levy's program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the Museum of Modern Art, featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made", he said. "I never wrote it down or told anyone, but it is as if he had stolen it". Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!" In this period, Dalí's main patron in London was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.
    In 1936, Dalí, aged 32, was featured on the cover of Time magazine.
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    In 1936, Dalí took part in the London International Surrealist Exhibition.
    More Details Hide Details His lecture, titled, was delivered while wearing a deep-sea diving suit and helmet. He had arrived carrying 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."
  • 1934
    Age 29
    Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group.
    More Details Hide Details To this, Dalí retorted, "I myself am surrealism".
    Dalí was introduced to the United States by art dealer Julien Levy in 1934.
    More Details Hide Details The exhibition in New York of Dalí's works, including Persistence of Memory, created an immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball". He showed up wearing a glass case on his chest, which contained a brassiere. In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act. While the majority of the Surrealist artists 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. Among other factors, this had landed him in trouble with his colleagues.
  • 1929
    Age 24
    Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on December 28, 1929.
    More Details Hide Details 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 bought the place, and over the years enlarged it by buying the neighbouring fishermen cabins, gradually building his much 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 introduced 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.
    Also, in August 1929, Dalí met his lifelong and primary muse, inspiration, and future wife Gala, born Elena Ivanovna Diakonova.
    More Details Hide Details She was a Russian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called 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 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".
    In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film (An Andalusian Dog).
    More Details Hide Details His main contribution was to help Buñuel write 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.
  • 1927
    Age 22
    In theatre, Dalí constructed the scenery for Federico García Lorca's 1927 romantic play Mariana Pineda.
    More Details Hide Details For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto. Bacchanale was followed by set designs for Labyrinth in 1941 and The Three-Cornered Hat in 1949. Dalí became intensely interested in film when he was young, going to the theatre most Sundays. He was part of the era where silent films were being viewed and drawing on the medium of film became popular. He believed there were two dimensions to the theories of film and cinema: "things themselves", the facts that are presented in the world of the camera; and "photographic imagination", the way the camera shows the picture and how creative or imaginative it looks. Dalí was active in front of and behind the scenes in the film world. He is credited as co-creator of Luis Buñuel's surrealist film Un Chien Andalou, a 17-minute French art film co-written with Luis Buñuel that is widely remembered for its graphic opening scene simulating the slashing of a human eyeball with a razor. This film is what Dalí is known for in the independent film world. Un Chien Andalou was Dalí's way of creating his dreamlike qualities in the real world. Images would change and scenes would switch, leading the viewer in a completely different direction from the one they were previously viewing. The second film he produced with Buñuel was entitled L'Age d'Or, and it was performed at Studio 28 in Paris in 1930.
  • 1926
    Age 21
    His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926.
    More Details Hide Details That same year, he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró. Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic, to the most cutting-edge avant-garde. His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez. He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.
    Dalí was expelled from the Academy in 1926, shortly before his final exams when he was accused of starting an unrest.
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  • 1924
    Age 19
    In 1924, the still-unknown Salvador Dalí illustrated a book for the first time.
    More Details Hide Details It was a publication of the Catalan poem Les bruixes de Llers ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced his work throughout his life.
  • 1922
    Age 17
    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.
    More Details Hide Details A lean tall, Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century. At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca. The friendship with Lorca had a strong element of mutual passion, but Dalí rejected the poet's sexual advances. However it was his paintings, in which he experimented with Cubism, that earned him the most attention from his fellow students. His only information on Cubist art had come from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time.
  • 1921
    Age 16
    In February 1921, Dalí's mother died of breast cancer.
    More Details Hide Details Dalí was 16 years old; he 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 her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had a great love and respect for his aunt.
  • 1919
    Age 14
    He had his first public exhibition at the Municipal Theatre in Figueres in 1919, a site he would return to decades later.
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  • 1916
    Age 11
    Dalí attended drawing school. In 1916, he also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.
    More Details Hide Details The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home.
  • 1904
    Salvador Domingo Felipe Jacinto Dalí i Domènech was born on 11 May 1904, at 8:45 am GMT, at the 1st floor of Carrer Monturiol, 20 (presently 6), in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.
    More Details Hide Details In the Summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10). 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 Dalí i Cusí, was a middle-class lawyer and notary whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors. When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation, a concept which he came to believe. Of his brother, Dalí said, "we resembled each other like two drops of water, but we had different reflections." He "was probably a first version of myself but conceived too much in the absolute." Images of his long-dead brother would reappear embedded in his later works, including Portrait of My Dead Brother (1963).
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