His life was a tragedy. One Dali was walking a tightrope on a float, the other was crying as a monk. Dalí has been busy almost his whole life to create a Dali in nothingness. Only the first monk Dali stood in one place and watched his performance with cold eyes. This Dali was Dali in painting, Dali in allegory.
The exit of "time" is like the aroma dissipating from the baked bread. The arrow of time has bent by itself, but in fact time is just walking towards the place where the heart converges. Before Impressionism, the time of Western painting was a literary time. By the time of Impressionism, time had begun to diverge. When it comes to Dali - the Dali of the game really read the mystery of the game - even "time" is a core content of human games. The time that people measure with digital scales forms an almost tyranny, almost a part of intimidation, which has the same effect as the god of death. What is superfluous to time is its pointer, and that is what should be removed.
Dalí spent his life trying to relieve his unease and panic, so he exaggerated and deformed. His heart is also a mystery to his. His worldly life is in "heaven", and his heart suffers in "hell". Heaven and hell are on fire. A person who likes games has an indifferent heart, and he uses games to cover up the desolate feeling that pierces his heart. He wanted to make those who cried laugh - "sad" and "laughter" were just one step away.
Seeing this comment again, I searched for Dalí's movies, and then found Little Ashes.
Although I'm not sure whether Dalí in history has the same love for Lorca and misses him forever, this movie does Found a reason to call it justification for some of Dalí's deep-seated pains. He changed the name of the painting for the man who wrote the poem for him and fell in love with him
Remember me when you are at the beach and above all when you paint cracking Things and little ashes.
OH, MY LITTLE ASHES!
Put my name in the picture so that my name will serve for something in the world.
The only regret is that the actors put The story was told clearly, but it didn't show the depth that Dali should have in certain periods.
At first, I couldn't understand his imagery, but then maybe it was a little bit of insight. In "Eternal Memory", against the suffocatingly calm background, there are only soft and easy to bend, melting clocks. Maybe it's telling - time will eventually be desolate in history, everything is so powerless
and some of Dalí's quotations can also reveal some clues in his heart (see below)
because I am a genius, I am not dead right. Genius dies, genius works immortal.
I love self-promotion, because my work is mostly "self"; the important thing is that I created "Dali".
Picasso is Spanish, and so am I. Picasso is a genius, and so am I. Picasso is famous all over the world, and so am I.
I'm not good at being humble.
The biggest difference between me and a lunatic is that I am not crazy.
I am affected by all things, but nothing can change me.
Madness can only exist in art, if it exists in science, it is a hypothesis, and if it exists in real life, it is a tragedy.
I've said it before, and I'll say it again, I consider myself a poor artist at the level of a painter. When I compare myself to the greats of the past like Vermeer or Vilas Gates, I consider myself an artistic catastrophe. But on the contrary, compared with contemporary painters, I am, of course, the best; not that I am a very good painter, but that other painters are so poor that I cannot make any comparisons.
I am an intelligent monster, and in our society, if there are many "Picasso", many "Dali", it will be precarious, thankfully, there is no such situation.
From my childhood and teenage experience, I used to be an atheist; from my youth experience, I am now an admirer of mystical charms.
I have never been inexplicably abrupt and converted to God like most people. Today, I paint religious paintings in defense of Western traditions because of my loyalty to my innate talents and to face the Spanish identity that I have acquired through my own experiences, especially the surreal rational identity.
I categorically deny that my whole life has been like a nouveau riche. In my life, there have been tragic mistakes, but I have always maintained my true character in the mistakes, although it is mixed with the meaning of joking life (very good at sarcasm and sarcasm), but this does not mean insincere . My style of painting relies on the verve of creation, the heaven and earth move with me and benefit me, but I do not abuse this sense of superiority over other painters.
My transformation is not divorced from tradition, it can even be said to be "one body and two sides" with tradition. Gai traditions must evolve with each passing day, while focusing on discovering the other side. It is not like static surgery, just applying medicine to the wounded part, or removing the patient's hands, feet and limbs, but to "regenerate" the wounded skin or defective limbs.
I am one of the very few contemporary artists who refuses to be attached to any kind of party or political group. I love history because it is beyond the realm of nature, and politics is just a short anecdote in history.
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