Lobster Dali

The surrealismo the surrealismo arises shortly after the dada?smo, and in 1924 Andri Bret?n du Surr?alisme publishes the Manifeste, where it gave the following definition: n. m. pure psychic Automatismo by which somebody sets out to express, verbally, in writing or of any other way, the real operation of the thought. Dictation of the thought, in absence of any control exerted for the reason, to the margin of all aesthetic or moral preoccupation? That is to say, the surrealismo grants to the object a new sense to him, recontextualizar it plastic or symbolically.

The surrealista object persecutes the unusual thing, falling in absurd and the incongruous thing and we could define it like the pure expression of the thought, is in painting, sculpture, writing, etc., but without the element of the reason, leaving of outside aesthetic or the moral. Freud has been perhaps the thinker who has influenced more in the surrealismo. The psychoanalysis was an attempt to elevate the irrational bottoms of the conscience to a rational structuring. When proclaiming that the reality is also in the dream or the automatic impulses of the spirit, the surrealistas are put in the same line of Freud. and truth?

It could be a summary of the aesthetic surrealista. If the imagination and the dream, with the only instruments of the rationalism, the man cannot reach a total knowledge of the reality; resorting sometimes to humor, the irony or the dream to be transported to that ephemeral reality Dal? Dal? was united to the surrealista movement in 1929, and it injected to the surrealismo a dose to him of vitality, reason why soon it enjoyed a good reputation within the movement in very just a short time Dal? always has been considered a good representative of the surrealismo, but it is located more within the painting and not it to him sculpture, in addition Dal? was first in operating the discoveries of Freud, and in insisting that madness is a legitimate right of the man.

Also it is possible to emphasize the method paranoico-critic, that development and that would take it to explore the diverse fields of the psychic life, it went a contribution to the quite revolutionary surrealismo and that would be present in each one of its works and would dominate its artistic evolution. It is possible to emphasize that Dal? has a unique personality, with his insatiable necessity of public recognition, an excessive love by the money, with certain tendency to the paranoia and a vast culture that has known to use to make specific subjects and alternatives in its work. The method I criticize paranoico of Dal?, discovers new meaning in the irrational; happening of a delirious world, tangible form, to the plane of the reality.

A paranoico patient generally shows a pathological accent in certain zones of his personality; in many aspects he is l?cido than a person who is conceited of mental balance. For that reason Dal? uses its disease to shape it in its works. If we analyzed the personality of Dal? according to the psychoanalysis of Freud, considering the three structures el it (you go), I (ego) and el supery? (superego), Dal? takes advantage of his perfectly ello, since in his painting it projects reflected acts and fantasies providing a fleeting lightening and using like expression means the linen cloth or maleable material. From years 20 to the present, one of the most typical and personal characteristics of the daliniana painting is the presence of pictorial reasons removed from the reality for that are they themselves and, simultaneously, another thing: a clock that are a cheese of Camembert, a horse that is a body of woman or a cluster of grapes, or a lobster that comprise of a telephone. Dal? being small discovered the mimicry, characteristic that has certain animals, in special the insects, reason why in many of their works are disguised or mimetisados personages or objects.

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