Salvador Dalí - Commentary on the Divine Comedy

Surrealist aesthetics emerged around the 1920s and encompassed all fields of artistic research. Specifically, in the visual arts, Surrealism sought to explore the human subconscious and translate it into artwork through a mechanical writing process based on dream analysis. Consequently, Surrealist artworks propose the representation of a dreamlike dimension, completely dissociated from reality. However, this representation often relies on a hyperrealistic formal rendering, precisely to paradoxically accentuate the illusory and ambiguous nature of the surreal dimension.

The three prints form a series in which the painter Salvador Dalí depicts moments from Dante Alighieri's Divine Comedy. As we can see, several themes dear to Dalí's poetics recur. First, the deformation of bodies, through elongation and fleshy masses, and the presence of soft organisms. Second, the citationism, the extrapolation of images from the art of the past, which consists of taking the same images and placing them in an alienating context. Formally, instead of the more usual hyper-realistic language, we find a more synthetic Dalí, constructing figures with a few graphic strokes and light washes of color.

Salvador Dalí (Figueres 1904-1989). A major representative of historical Surrealism, he was a photographer, writer, and filmmaker (his collaboration with Luis Buñuel is famous) as well as a painter. His works are based on the principles of psychoanalytic associationism, following the teachings of André Breton. His style is characterized by a turgid, harsh hyperrealism, in which his subjects display an obsessive attention to detail. His compositions are a mix of free associations, biomorphic organisms, and cultural references.

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