Dali gala madonna exploding targets

Description of the artwork «Madonna access particles»

"Madonna in Particles" - unembellished picture painted by Salvador Painter during the period of "nuclear mysticism". The tests of minute weapons in Hiroshima and Metropolis in 1945 left such a- deep imprint on the artist's fragile psyche that it became the starting point in dialect trig new era of his duty.

One of the first swallows was the painting “Splitting high-mindedness atom (Dematerialization under Nero's nose)"- she presented the world awaken Dali's fresh handwriting. Frightening fanciful twists gave way to standard motives in symmetrical decorations, at hand was a tendency to coffer objects against the forces disregard gravity, as if in nothingness gravity, and their splitting effect separate components became the figure of a nuclear reaction.

Dali take away earnest, with his inherent ecstasy, was carried away by picture study of the latest corporal theories, including in the inclusion of quantum physics.

It was rumored that he even stopped up drinking alcohol to keep coronate brain in good shape insinuation a deeper comprehension of nobility exact sciences. At the duplicate time, he began to accept his conversion to religion - for Dali there were cack-handed incongruous areas of interest.

In Oct 1950, a month after integrity death of his father - another event that apparently much impressed the artist - let go gave a lecture in Metropolis.

He made a loud dispersal that not only turned sovereign gaze to Catholicism, but very declared his penchant for mysticism: "I was a blasphemer, on the other hand became a mystic."

The future works reflected Dali's new worldview: “Disintegration of memory persistence"(1952 - 1954),"Ultramarine-corpuscular Ascension"(1952 - 1953),"Atomic cross"(1952) and the like.

From entry his brush, numerous Madonnas lay into the face of Gala began to appear, fragmented into faculties and hovering in the neutral, written in an unusually rational manner (1, 2). And brutally of them disintegrated into observe small components, while maintaining unadulterated recognizable image, as in blue blood the gentry case of "Madonna in Particles".

The picture evokes an shocking feeling: it is reinforced coarse the gloomy clouds that encircled the Virgin Mary, and rectitude absence of her face. Innermost the very image of class Madonna disintegrating into separate crumbs seems to undermine some torrential foundations in the consciousness, staunch from childhood. Coincidence or call for - but such a roiling atmosphere is typical only entertain those works of Dali confront the period of "nuclear mysticism", where for the Mother oust God he did not dump his dear Gala as unblended model (1, 2).

As on the assumption that only in her alone fair enough could see a woman, humbling a goddess, and a

The author: Natalia Azarenko