Dalí, Metamorphosis of Narcissus, 1937발음듣기
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Dalí, Metamorphosis of Narcissus, 1937
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Dalí, Metamorphosis of Narcissus, 1937
We are looking at a painting by Salvador Dali in the Tate Modern.
It’s Metamorphosis of Narcissus and it dates to 1937.
It’s pretty well painted.
So what I see is this hand that seems to be emerging from the earth that holds an egg from which seems to be hatching Narcissus.
Except that so many of Dali’s paintings and rendering in Dali’s paintings which are painted in a kind of classical manner in terms of it’s sort of…
It’s very realistic.
It’s precision, it’s careful, it’s rendering of space even if that space is distorted of shadow, of line.
If we look at the egg from which the flower is emerging it seems to be emerging from a crack that is also the shadow of the flower at the same moment.
And so it’s both of those things simultaneously.
And in fact the whole painting seems to be about forms being one thing and at the same moment another.
Because there is behind that hand another hand that seems to be emerging from a pool of water.
This time not rock, but something because it’s brown and seems more earth - like and holding also an egg- like shape but actually looks a bit more like a walnut but it also has a crack and from seems to emerge hair that looks like a flame.
Because the hand is in that second iteration not so much hand as actually a crouching body.
The body of Narcissus. You can see knees and arms.
But what’s wonderful is that whereas the figure that is yellow on the left slightly further back is the body where the head is a walnut, on the right it’s more clearly a close up of a hand holding an egg and yet there are precisely the same forms.
It’s that doubling, it’s that mirror that is so incredibly disconcerting.
All these needs to be contextualized - what in the world is Dali doing.
Well, what he said he was doing, while Andre Breton have lauded him for, he was writer and often seen as one of the leaders or the surrealism movement.
And he wrote the surrealism Manifesto.
Right, all of those surrealism Manifestos, there is a number of them, yes.
They called the ability of Dali to do this, to see things simultaneously, as more than one thing.
It is a result of a psychological state, which they call a paranoid critical activity.
Sounds scary and dangerous.
Well I think they loved the fact that it was scary and dangerous and it was based on some kind of willful misreading of Freud.
You know, Freud talked about the filters that kept the conscious and unconscious mind apart.
But Dali claimed that in the state of paranoid critical activity he could actually embrace both the conscious and unconscious simultaneously so that his conscious mind could actually do the painting, the brilliance of understanding that form is both the hand and the body,
it’s flash and stone simultaneously, that Dali would have claimed was absolutely result not of a rational mind, impossible in the rational it was a result of the irrational, of a conversation between those two states.
In the state of paranoid critical activity…
Ok, it was incredibly important to the surrealists to access that unconscious, to access something that was more authentic, that lacked the control of the conscious mind.
And for them that was the engine of creativity, absolutely, it was this motherload of the creative, I mean, when we think back to the nineteenth century, we think back to the artist like Gauigain, wanting to get back to nature, of Courbet wanting to get back to the nature - the unconscious for the surrealists that was the great goal, you know, that was it.
So what is so interesting is the surrealists go after this, for a number of different points of view.
People like Miro will try to, in a sense of - allow for the unconscious to emerge and paint using the automatic methods that is not allowing the conscious mind to interpret, whereas Dali is sort of wanting both he wants the perfection of the academic style to render the inspiration of the unconscious.
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So what I see is this hand that seems to be emerging from the earth that holds an egg from which seems to be hatching Narcissus.발음듣기
대기중
Except that so many of Dali’s paintings and rendering in Dali’s paintings which are painted in a kind of classical manner in terms of it’s sort of…발음듣기
대기중
It’s precision, it’s careful, it’s rendering of space even if that space is distorted of shadow, of line.발음듣기
대기중
If we look at the egg from which the flower is emerging it seems to be emerging from a crack that is also the shadow of the flower at the same moment.발음듣기
대기중
And in fact the whole painting seems to be about forms being one thing and at the same moment another.발음듣기
대기중
Because there is behind that hand another hand that seems to be emerging from a pool of water.발음듣기
대기중
This time not rock, but something because it’s brown and seems more earth - like and holding also an egg- like shape but actually looks a bit more like a walnut but it also has a crack and from seems to emerge hair that looks like a flame.발음듣기
대기중
But what’s wonderful is that whereas the figure that is yellow on the left slightly further back is the body where the head is a walnut, on the right it’s more clearly a close up of a hand holding an egg and yet there are precisely the same forms.발음듣기
대기중
Well, what he said he was doing, while Andre Breton have lauded him for, he was writer and often seen as one of the leaders or the surrealism movement.발음듣기
대기중
They called the ability of Dali to do this, to see things simultaneously, as more than one thing.발음듣기
대기중
Well I think they loved the fact that it was scary and dangerous and it was based on some kind of willful misreading of Freud.발음듣기
대기중
You know, Freud talked about the filters that kept the conscious and unconscious mind apart.발음듣기
대기중
But Dali claimed that in the state of paranoid critical activity he could actually embrace both the conscious and unconscious simultaneously so that his conscious mind could actually do the painting, the brilliance of understanding that form is both the hand and the body,발음듣기
대기중
it’s flash and stone simultaneously, that Dali would have claimed was absolutely result not of a rational mind, impossible in the rational it was a result of the irrational, of a conversation between those two states.발음듣기
대기중
Ok, it was incredibly important to the surrealists to access that unconscious, to access something that was more authentic, that lacked the control of the conscious mind.발음듣기
대기중
And for them that was the engine of creativity, absolutely, it was this motherload of the creative, I mean, when we think back to the nineteenth century, we think back to the artist like Gauigain, wanting to get back to nature, of Courbet wanting to get back to the nature - the unconscious for the surrealists that was the great goal, you know, that was it.발음듣기
대기중
So what is so interesting is the surrealists go after this, for a number of different points of view.발음듣기
대기중
People like Miro will try to, in a sense of - allow for the unconscious to emerge and paint using the automatic methods that is not allowing the conscious mind to interpret, whereas Dali is sort of wanting both he wants the perfection of the academic style to render the inspiration of the unconscious.발음듣기
대기중
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