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Essay salvador dali the persistence of memory
Essay salvador dali the persistence of memory
Observations and opinions on salvador dali's art
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Analysis of the painting The Persistence of Memory
*Source: http://www.moma.org/learn/moma_learning/1168-2
NP - The Persistence of Memory by Salvador Dali is an oil on canvas painting (the oil on canvas being the medium of the artwork) painted in surrealism style in 1931. The painting is a form of two dimensional art. All the colors on the canvas are opaque and the painting has a smooth texture. We can see on the beach Dali adds more value (he adds more black to the green) to the shaded part of the landscape, and more white to the grass where the sun would be shining. The same is applied for the cliff on the background, where the sun is shining the value of the color is much less than areas of the cliff that are not hit by the setting sun. This type of painting is painterly work. Dali uses value, hue and chroma with paint to construct realistic looking world which we can see with how he did correct shading for a setting sun.
BQ - The painting’s textures are rather simple to my taste, there is some detail made on the mountainside in the background of the painting, but other than that, there is no texture that really pops out. The colors are also sort of lifeless in their usage. There is a lot of brown used in this painting, and while there is some blue as well, the blue does not invoke any sort of life to it, it simply just looks rather tranquil and empty. The brown by itself seems to represent lack of life as I personally correlate brown with lack of life as plants turn brown when they die or deserts, like the one depicted here, also tend to be brown and lifeless. I too noticed that the sun depicted in this painting seemed to either be a rising sun or a setting sun, given the lighting effects in the painting, but ...
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...eeding on a watch. By this point we’ve established that these watches are soft and organic, but the ants feeding on the watch seems to imply that the watch is alive. By that nature, what Dali seems to be telling us is that time is alive. Since we’ve established that the context of this painting is within a memory, it seems to signify that memories are also in a way living things. And like all living things, they must die, which seems to be shown by the dying creature in the middle of the painting and how it’s the closest to the portion of the painting that is fading to black. I really think that this painting was an excellent painting to view as although it looks strange and simple at first, when you look closely enough the content this painting brings with it is staggering and thought provoking.
Works Cited
"MoMA Learning: MoMA. Web. 30 April 2014.
What I see in this piece is peacefulness. Stokes of the paintbrush are perfect to make it look whole. With the sun shinning down making the colors pop out even more. The olive trees glowing in the suns light with the mountains behind it. It is a piece I could look at for a long time with out getting bored. The colors of the piece just make it look so complete. With the lines of the
We know Salvador Dali to be the very eccentric surrealist painter of such paintings as, The Temptation of St. Anthony or The Persistence of Memory. Dali’s painting, Hasty Plum, is quite unlike anything that Dali had painted in the past. Hasty Plum was part of a group of commissioned pieces that were based on 19th century botanical drawings. It was done in the medium of watercolor and gouache in 1969. Recently, because of the rarity or the watercolor paintings, they were sold for 1 million dollars. (Livius, 2014) The theme that connects these two works of art and spans the centur...
The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the conscious decision to put so much effort into the tree itself and then to use obvious brushwork in the leaves makes the trees much more firm and immovable in the landscape. The brushstrokes are very clean and precise on the trees in the background.
The painting express creative drive that they give form to immaterial ideas and feelings (this is relevant to abstract art). Since the author had mental health issues during the creative process of the painting I believe, he didn’t just used art and beauty themes to express his paintings, he wanted to show the world what he was feeling inside. Although, many people can view this painting’s major theme as Art and Beauty, I also viewed it as Art and Spiritual Belief. The reason why is because according to Sayre, Gogh wrote a letter to his brother by saying: “My paintings are almost a cry of anguish.” Gogh utilized a variety of colors on the spectrum, giving his paintings life. He often used the art style of Impressionists in that his paintings are depicted as he sees fit, and not how they are naturally viewed. His heavy brushstrokes and vivid colors portray the night sky as crazy and chaotic and the village below as peaceful and
Salvador Dali was a modern master of art. He unleashed a tidal wave of surrealistic inspiration, affecting not only fellow painters, but also designers of jewelry, fashion, architecture, Walt Disney, directors such as Alfred Hitchcock, performers like Lady Gaga, and Madison Street advertisers. Filled with antics of the absurd, Dali fashioned a world for himself, a world which we are cordially invited to experience his eccentricity, his passions, and his eternal questioning nature. Dali’s surreal paintings transport us to fantastic realms of dream, food, sex, and religion. Born on May 11, 1904, Dali was encouraged by his mother to explore, to taste, to smell, to experience life with all of its sensuality. As a boy, Dali often visited the Spanish coastal town of Cadaqués with his family. It was here that he found inspiration from the landscape, the sea, the rock formations, the bustling harbor, with ships transporting barrels of olives and troves of exotic spices. Dali was impressed by the Catholic churches, and their altars with the portrayal of Christ and of the angels and saints gracefully flying overhead, yet frozen in time and marble. It was in Cadaqués that Dali declared “I have been made in these rocks. Here have I shaped my personality. I cannot separate myself from this sky, this sea and these rocks.” It was in
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The colours used in the artwork are earthy tones with various browns, greens, yellows, blues and some violet. These colours create a sense of harmony on the...
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
Salvador Dalí is probably one of the most well-known artists of the Surrealist period, as well as a very influential figure in modern art. Even though he was formally expelled from the Surrealist movement years before his death, one could not consider him/herself a true Surrealist without having studied Dalí’s background, methods, philosophies, inspirations and influences.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
Form plays a predominant role in these paintings, especially as far as value and shape are concerned. For example, the eyes of the subject in the “What surrounds us we endure…” painting are piercing and ice-cold, conveying desperation and a need to be heard. The eyes look piercing and distressed due to their light blue color which contrasts with the darks shadows enclosing them. Through their body language and facial expressions, the three men in the picture express anxiety, stress and depression which are perhaps due to the rain-streaked night sky, the lonely sidewalk and bus stop and the use of dark, cool hues which surround them. Also, the value of the man in the foreground is very intense because he is lighter than the background and creates an eerie sensation. It is also a focal point in the piece because of the drastic contrast between light and dark fashioned by the strong use of shadow. The remaining two men that occupy the background of the picture seem to be completely exposed to light, almost representing a sense of being scrutinized, but not understood due to the cry ...
Looking at landscape art, especially when painted by one of the masters, many have undoubtedly pondered: what would it be like to live there? Shapes and attention to detail are, of course, important in a painting. However, it is color that draws the eye and inspires the heart. Oscar Wilde, an Irish poet and dramatist, spoke well of this when he noted that, “Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways. (qtd in “color”)”. Vincent Ward had a similar understanding of this impact when, in 1998, he directed the movie What Dreams May Come. Looking at this film, one can easily imagine being inside a living painting. The use of color to emphasize the emotional state of a character or event is common in films; nevertheless, Director Ward goes even farther in using color to represent the actual characters themselves. Red is the shade chosen to signify Annie and likewise, blue is used for Chris. Both of these, as will be shown, are accurate in defining these fictitious people. However, it is the profound use of purple in this film that is the true focal point. When mixing red and blue paint, one would find that, after being mixed, they cannot be separated. Likewise, this is true of the life and love these characters build and share. Purple represents the many ways in which Chris and Annie are melded, and joined.
Dali, Salvador. “The Persistance of Memory.” A World of Ideas. 9th ed. Ed. Lee A.Jacobus. Boston: Bedford/St.Martins, 2013.Print
Figure 2, which is the first historical example, The Persistance of Memory by Salvador Dali. This is said to be the ideal Surrealist image. Surrealist’s often invented new forms to symbolize the unconscious, while in this picture Dali represented his hallucinations with meticulous realism (Brahman et al., 2001: 1). The
To me the painting is a way of showing you what everyone else is seeing. That the painter had the men looking right at each other so they can see themselves running away. In turn I got to see myself doing the same thing and was able to change because of it. When other people look at the painting they probably see something else. That is why I choose to do the painting, it gives you the choice too interpret it any way you see fit. Or it can just be a beautiful painting to look at, but the painting was so much more to me. It painted a thousand words for me.