Lot

78

Salvador Dalì Y Domenech, Industrial Life - Prémonition de la guerre civil

In Evening Sale - Modern and Contemporary Art

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Salvador Dalì Y Domenech, Industrial Life - Prémonition de la guerre civil
Charcoal, India ink, gouache and white bodycolour on chamois coloured laid paper watermarked "MBM Made in France ChPC" (with three flowers). 62.2 x 47.8 cm. Framed under glass. Signed and dated twice 'Dali 1937' (in brush and pen and ink) lower left within the depiction.

With a photo-certificate by Robert P. Descharnes, Paris, dated 4 March 1996 (archive nr. D-510/1133)

Provenance
Galerie Jan Krugier, Geneva (1978) (2 labels verso "Predizione di guerra civile"); Jerald Melberg Gallery Inc., Charlotte, North Carolina (label verso); Estate William H. van Every, Jr.; Private collection, France

Exhibitions
London 1978 (Hayward Gallery), Dada & Surrealism Reviewed, no. 1243 with ill. (label of the Arts Council of Great Britain to the reverse); Venice 1979 (Palazzo Grassi), La Pittura Metafisica, no. 124 (label to the reverse); Bologna 1983 (Galleria Marescalchi), I Surrealismi, p. 48 with ill.; Barcelona/Madrid/St. Petersburg, Florida/Rotterdam 2004/2005 (Caixa Forum/Museo Nacional Centro de Arte Reina Sofia/Salvador Dali Museum/Museum Boijmans Van Beuningen), It's all Dali, Film, Fashion, Photography, Design, Advertising, Painting, with colour ill. p. 337

Literature
The American Weekly, New York, 16th January, 1938 (ill. on the cover) - cf. Felix Fanés, Advertising and printend matter, in: Exhib. cat. It's all Dali, op. cit. 2004/2005, p. 316 with colour ill. p. 336/337; exhib. cat. Surrealismo, I Evi Arte Moderna, Milano 1974, no. 48 with ill.

The subject was presented in a colour version on the cover of the Sunday magazine "American Weekly" on 16 January 1938. Dalí had worked for the "American Weekly", pubished by W.R. Hearst, since 1934. His artistic contributions enabled him to reach a large readership with his surrealist imagery, but also to propagate his ideas and political ideals at that time: “It is evidently a matter of urgency for Surrealism to adopt an attitude of extreme ideological rigour; in fact, this is not a matter of quality or quantity, but of authenticity. We must be highly rigorous concerning the authenticity of the documents that must serve us to exemplify and illustrate our ideas. On the other hand, I am certain that we must make certain concessions in order to obtain opportunities for dissemination and propaganda, because otherwise our attitude will remain mystical; we need to act at all cost and be materially influential in our time [...].” (Dalí in a letter to Paul Éluard in 1934, quoted from: Salvador Dalí, Rétrospective, exhib. cat. Paris 1979/1980, p. 300).
Dalí's critique of the cynicism that underlies civilisational processes and political developments is obvious in this important drawing of pictorial composition which allows a range of different interpretations, even today. The subtitle is a direct reference to one of the artist's main works, his painting “Construction molle avec haricots bouillis - Prémonition de la guerre civile" of 1936 (Philadelphia Museum of Art). But there are also references to other paintings created in 1937 (“Cannibalisme d'automne”, “Girafe en feu”, “L'Énigme d'Hitler”, and “L'Invention des monstres"). Many formally abstract compositional elements display a kinship with Pablo Picasso's “Anatomies”, surrealist works created in the early 1930s.
Salvador Dalì Y Domenech, Industrial Life - Prémonition de la guerre civil
Kohle, Tusche, Gouache mit Deckweiß auf chamoisfarbenem Büttenpapier mit Wasserzeichen "MBM Made in France ChPC " (mit drei Blüten). 62,2 x 47,8 cm. Unter Glas gerahmt. Zweifach in der Darstellung unten links (mit Pinsel und Tuschfeder) signiert und datiert 'Dali 1937'.

Mit einer Foto-Expertise von Robert P. Descharnes, Paris, vom 4.3.1996 (Réf. d'archive: D-510/1133)

Provenienz
Galerie Jan Krugier, Genf (1978) (mit 2 rückseitigen Aufklebern "Predizione di guerra civile"); Jerald Melberg Gallery Inc., Charlotte, North Carolina (rückseitiger Aufkleber); Nachlass William H. van Every, Jr.; Privatsammlung Frankreich

Ausstellungen
London 1978 (Hayward Gallery), Dada & Surrealism Reviewed, Nr. 1243 mit Abb. (mit rückseitigem Aufkleber des Arts Council of Great Britain); Venedig 1979 (Palazzo Grassi), La Pittura Metafisica, Nr. 124 (mit rückseitigem Aufkleber); Bologna 1983 (Galleria Marescalchi), I Surrealismi, S. 48 mit Abb.; Barcelona/Madrid/St. Petersburg, Florida/Rotterdam 2004/2005 (Caixa Forum/Museo Nacional Centro de Arte Reina Sofia/Salvador Dali Museum/Museum Boijmans Van Beuningen), It's all Dali, Film, Fashion, Photography, Design, Advertising, Painting, mit Farbabb. S. 337

Literatur
The American Weekly, New York, 16th January, 1938 (mit Abb. auf dem Titel) - vgl. Felix Fanés, Advertising and printend matter, in: Ausst. Kat. It's all Dali, op. cit. 2004/2005, S. 316 mit Farbabb. S. 336/337; Ausst. Kat. Surrealismo, I Evi Arte Moderna, Milano 1974, Nr. 48 mit Abb.

Das vorliegende Motiv erschien in einer Farbfassung auf dem Titel der Sonntagsbeilage "American Weekly" vom 16. Januar 1938. Dali arbeitete seit 1934 für diese von W.R. Hearst herausgegebenen Zeitschrift. Seine künstlerische Beteiligung sicherte ihm nicht nur eine auflagenstarke Verbreitung seiner surrealistischen Bildwelt, sondern auch seiner Ideen und politischen Ideale in dieser Zeit: "Évidemment il est urgent pour le surréalisme d'adapter une attitude d'extrême rigueur idéologique, il n'y a pas alors une question de qualité ou de quantité, il s'agit d'une question d'authenticité. On doit être de rigueur colossale vis-à-vis de l'authenticité des documents qui nous doivent servir d'exemple et d'illustration de nos idées. Par contre je suis certain qu'il faut faire des concessions pour atteindre des facilités de diffusion et propagande, car sans cela notre attitude sera mystique, il faut à tout prix agir et influencer matériellement dans notre époque [...]." (Dali in einem Brief an Paul Éluard 1934, zit. nach: Ausst. Kat. Salvador Dali, Rétrospective, Paris 1979/1980, S. 300).
Dalis Kritik an dem Zynismus zivilisatorischer Prozesse und politischer Entwicklungen ist in der wichtigen, bildmässig angelegten Zeichnung, die der Interpretation auch aktuell vielfältigen Ansatz bietet, evident. Der Untertiel nimmt direkten Bezug auf eines der Hauptwerke des Künstlers, auf das 1936 entstandene Gemälde "Weiche Konstruktion mit gekochten Bohnen, Vorahnung des Bürgerkriegs" (Philadelphia Museum of Art). Bezüge gibt es ferner zu seiner zeitgleichen, 1937 entstandenen Malerei ("Kannibalismus im Herbst", "Brennende Giraffe", "Das Rätsel Hitlers" oder "Die Erfindung der Ungeheuer"). Manches formal-abstrakte Element der Komposition ist den "Anatomies" im surrealistischen Werk Pablo Picassos aus den frühen 1930er Jahren verwandt.
Salvador Dalì Y Domenech, Industrial Life - Prémonition de la guerre civil
Charcoal, India ink, gouache and white bodycolour on chamois coloured laid paper watermarked "MBM Made in France ChPC" (with three flowers). 62.2 x 47.8 cm. Framed under glass. Signed and dated twice 'Dali 1937' (in brush and pen and ink) lower left within the depiction.

With a photo-certificate by Robert P. Descharnes, Paris, dated 4 March 1996 (archive nr. D-510/1133)

Provenance
Galerie Jan Krugier, Geneva (1978) (2 labels verso "Predizione di guerra civile"); Jerald Melberg Gallery Inc., Charlotte, North Carolina (label verso); Estate William H. van Every, Jr.; Private collection, France

Exhibitions
London 1978 (Hayward Gallery), Dada & Surrealism Reviewed, no. 1243 with ill. (label of the Arts Council of Great Britain to the reverse); Venice 1979 (Palazzo Grassi), La Pittura Metafisica, no. 124 (label to the reverse); Bologna 1983 (Galleria Marescalchi), I Surrealismi, p. 48 with ill.; Barcelona/Madrid/St. Petersburg, Florida/Rotterdam 2004/2005 (Caixa Forum/Museo Nacional Centro de Arte Reina Sofia/Salvador Dali Museum/Museum Boijmans Van Beuningen), It's all Dali, Film, Fashion, Photography, Design, Advertising, Painting, with colour ill. p. 337

Literature
The American Weekly, New York, 16th January, 1938 (ill. on the cover) - cf. Felix Fanés, Advertising and printend matter, in: Exhib. cat. It's all Dali, op. cit. 2004/2005, p. 316 with colour ill. p. 336/337; exhib. cat. Surrealismo, I Evi Arte Moderna, Milano 1974, no. 48 with ill.

The subject was presented in a colour version on the cover of the Sunday magazine "American Weekly" on 16 January 1938. Dalí had worked for the "American Weekly", pubished by W.R. Hearst, since 1934. His artistic contributions enabled him to reach a large readership with his surrealist imagery, but also to propagate his ideas and political ideals at that time: “It is evidently a matter of urgency for Surrealism to adopt an attitude of extreme ideological rigour; in fact, this is not a matter of quality or quantity, but of authenticity. We must be highly rigorous concerning the authenticity of the documents that must serve us to exemplify and illustrate our ideas. On the other hand, I am certain that we must make certain concessions in order to obtain opportunities for dissemination and propaganda, because otherwise our attitude will remain mystical; we need to act at all cost and be materially influential in our time [...].” (Dalí in a letter to Paul Éluard in 1934, quoted from: Salvador Dalí, Rétrospective, exhib. cat. Paris 1979/1980, p. 300).
Dalí's critique of the cynicism that underlies civilisational processes and political developments is obvious in this important drawing of pictorial composition which allows a range of different interpretations, even today. The subtitle is a direct reference to one of the artist's main works, his painting “Construction molle avec haricots bouillis - Prémonition de la guerre civile" of 1936 (Philadelphia Museum of Art). But there are also references to other paintings created in 1937 (“Cannibalisme d'automne”, “Girafe en feu”, “L'Énigme d'Hitler”, and “L'Invention des monstres"). Many formally abstract compositional elements display a kinship with Pablo Picasso's “Anatomies”, surrealist works created in the early 1930s.
Salvador Dalì Y Domenech, Industrial Life - Prémonition de la guerre civil
Kohle, Tusche, Gouache mit Deckweiß auf chamoisfarbenem Büttenpapier mit Wasserzeichen "MBM Made in France ChPC " (mit drei Blüten). 62,2 x 47,8 cm. Unter Glas gerahmt. Zweifach in der Darstellung unten links (mit Pinsel und Tuschfeder) signiert und datiert 'Dali 1937'.

Mit einer Foto-Expertise von Robert P. Descharnes, Paris, vom 4.3.1996 (Réf. d'archive: D-510/1133)

Provenienz
Galerie Jan Krugier, Genf (1978) (mit 2 rückseitigen Aufklebern "Predizione di guerra civile"); Jerald Melberg Gallery Inc., Charlotte, North Carolina (rückseitiger Aufkleber); Nachlass William H. van Every, Jr.; Privatsammlung Frankreich

Ausstellungen
London 1978 (Hayward Gallery), Dada & Surrealism Reviewed, Nr. 1243 mit Abb. (mit rückseitigem Aufkleber des Arts Council of Great Britain); Venedig 1979 (Palazzo Grassi), La Pittura Metafisica, Nr. 124 (mit rückseitigem Aufkleber); Bologna 1983 (Galleria Marescalchi), I Surrealismi, S. 48 mit Abb.; Barcelona/Madrid/St. Petersburg, Florida/Rotterdam 2004/2005 (Caixa Forum/Museo Nacional Centro de Arte Reina Sofia/Salvador Dali Museum/Museum Boijmans Van Beuningen), It's all Dali, Film, Fashion, Photography, Design, Advertising, Painting, mit Farbabb. S. 337

Literatur
The American Weekly, New York, 16th January, 1938 (mit Abb. auf dem Titel) - vgl. Felix Fanés, Advertising and printend matter, in: Ausst. Kat. It's all Dali, op. cit. 2004/2005, S. 316 mit Farbabb. S. 336/337; Ausst. Kat. Surrealismo, I Evi Arte Moderna, Milano 1974, Nr. 48 mit Abb.

Das vorliegende Motiv erschien in einer Farbfassung auf dem Titel der Sonntagsbeilage "American Weekly" vom 16. Januar 1938. Dali arbeitete seit 1934 für diese von W.R. Hearst herausgegebenen Zeitschrift. Seine künstlerische Beteiligung sicherte ihm nicht nur eine auflagenstarke Verbreitung seiner surrealistischen Bildwelt, sondern auch seiner Ideen und politischen Ideale in dieser Zeit: "Évidemment il est urgent pour le surréalisme d'adapter une attitude d'extrême rigueur idéologique, il n'y a pas alors une question de qualité ou de quantité, il s'agit d'une question d'authenticité. On doit être de rigueur colossale vis-à-vis de l'authenticité des documents qui nous doivent servir d'exemple et d'illustration de nos idées. Par contre je suis certain qu'il faut faire des concessions pour atteindre des facilités de diffusion et propagande, car sans cela notre attitude sera mystique, il faut à tout prix agir et influencer matériellement dans notre époque [...]." (Dali in einem Brief an Paul Éluard 1934, zit. nach: Ausst. Kat. Salvador Dali, Rétrospective, Paris 1979/1980, S. 300).
Dalis Kritik an dem Zynismus zivilisatorischer Prozesse und politischer Entwicklungen ist in der wichtigen, bildmässig angelegten Zeichnung, die der Interpretation auch aktuell vielfältigen Ansatz bietet, evident. Der Untertiel nimmt direkten Bezug auf eines der Hauptwerke des Künstlers, auf das 1936 entstandene Gemälde "Weiche Konstruktion mit gekochten Bohnen, Vorahnung des Bürgerkriegs" (Philadelphia Museum of Art). Bezüge gibt es ferner zu seiner zeitgleichen, 1937 entstandenen Malerei ("Kannibalismus im Herbst", "Brennende Giraffe", "Das Rätsel Hitlers" oder "Die Erfindung der Ungeheuer"). Manches formal-abstrakte Element der Komposition ist den "Anatomies" im surrealistischen Werk Pablo Picassos aus den frühen 1930er Jahren verwandt.

Evening Sale - Modern and Contemporary Art

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Evening Sale - Modern and Contemporary Art

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Tags: Salvador Dali, Pablo Picasso, Modern & Impressionist Art