Dali & Film

On June 13, I attended the Dali and Film exhibition at Tate Modern. Again, I am not too familiar in critiquing artistic paintings, but I must say I personally was not impressed with Salvador Dali’s work. In my opinion, Dali wanted to be shocking when it came to his work. His paintings were sort of hard to interpret and seemed a bit busy with to much going on all at once. My visual rendering of Dali’s art seemed to be almost like a dream. I read that a range of of his work was done during a period of psychological issues which may explain why some of his art may seem like a dream. When people dream, occasionally, our dreams tend to have no meaning with questionable surroundings. Surrealism indeed was Dali’s aspiration.
In the picture Freud’s Perverse Poly Morph (1939), a child is eating a dead rat. I can not fathom as to why a picture that is revolting is seen as art. I couldn’t help but wonder what type of happy thoughts Dali had. I was, on the other hand, quite impressed with the lobster phone. The lobster phone was funky and fun which I would refer to as creatively artistic. Shirley Temple, the youngest sacred Monster of Contemporary Cinema (1939), was another painting which Dali wanted to trick his audience since Shirley was one of Hollywood’s stars. The picture consisted of Shirley Temple’s head rested on a body of a gargoyle with a bat sitting upon her head surrounded by beach sand and skeleton bones.
Some may not be fans of Salvador Dali’s efforts but he did catch the eye of both Hitchcock and Walt Disney with his imagination as well as vibrancy in Destino and Fantasia.