The Surrealists were deeply interested in dream states, in Freud, in alternative realities to provoke, to stimulate, to overturn people's expectations. The Surrealists were a revolutionary movement with the goal of destabilizing societal, political, cultural norms. It is probably for its hallucinatory, hyper-realistic atmosphere that this work is one of the most iconic Surrealist paintings. "The difference between a madman and me," he said, "is that I am not mad."Ĭurator, Anne Umland: Salvador Dalí's 1931 painting The Persistence of Memory is a very small, cabinet-size picture filled with exquisite, meticulously rendered detail. The year before this picture was painted, Dali formulated his "paranoiac-critical method," cultivating self-induced psychotic hallucinations in order to create art. The monstrous fleshy creature draped across the painting's center is at once alien and familiar: an approximation of Dali's own face in profile, its long eyelashes seem disturbingly insectlike or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail. Permanence goes with it: ants, a common theme in Dali's work, represent decay, particularly when they attack a gold watch, and become grotesquely organic. Those limp watches are as soft as overripe cheese-indeed "the camembert of time," in Dali's phrase. Mastering what he called "the usual paralyzing tricks of eye-fooling," Dali painted with what he called "the most imperialist fury of precision," but only, he said, "to systematize confusion and thus to help discredit completely the world of reality." It is the classical Surrealist ambition, yet some literal reality is included too: the distant golden cliffs are the coast of Catalonia, Dali's home. Hard objects become inexplicably limp in this bleak and infinite dreamscape, while metal attracts ants like rotting flesh. The Persistence of Memory is aptly named, for the scene is indelibly memorable. The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999
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