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The Delights of Dalí
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17801 |
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Section : |
THE ARTS
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| Issue
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3 / 1990 |
1,384 Words |
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Mavis Guinard
Mavis Guinard, a writer on the arts, lives in Switzerland. |
Is it because he painted William Tell, watches as limp as runny cheese, and was mad about money that Salvador Dalí has so intrigued the Swiss?
All last fall, a massive retrospective of this century's most materialistic and controversial painter drew crowds to Zurich's Kunsthaus, "We have never seen such queues," says curator Tony Stooss, who setup the exhibit. "I believe it is because he was the only modern artist who allowed himself to express everything and anything. It liberates a host of personal phantasms. His smooth classical technique fascinates people. Visitors keep on saying 'He drew so well.’"
The mammoth exhibition, which had opened first in Stuttgart, West Germany, has been arousing an enthusiasm bordering on positive delirium among art critics and public alike. Wisely the exhibit shows off to best effect the artist's great years, 1927 to 1938.
The Zurich exhibit is backed by photographs taken through out his life from a baby picture to the last photography session before his death as well as famous pictures of him by Man Ray, Philippe Halsmann, and Lacroix.
After a lifetime of outrageous posturing, publicity seeking, and mustache twirling, the 85-year-old Dalí died last January with a whimper: a pathetic recluse being kept alive by a pacemaker, spattered by a scandal of fakes, some of which he had encouraged himself. The fiery-eyed young Catalan with the hungry profile had appeared on the Paris art scene with a bang when the Surrealists made him their standard-bearer over sixty years ago. The retrospective attempts to make clearer
... (1995 of 8347 Characters)
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