{"id":471,"date":"2025-01-10T19:21:22","date_gmt":"2025-01-10T17:21:22","guid":{"rendered":"https:\/\/catalogues.salvador-dali.org\/catalogues\/?page_id=471"},"modified":"2025-02-17T17:32:56","modified_gmt":"2025-02-17T15:32:56","slug":"recorregut-cronologic","status":"publish","type":"page","link":"https:\/\/catalogues.salvador-dali.org\/catalogues\/ca\/cataleg-raonat-escultures\/intro\/recorregut-cronologic\/","title":{"rendered":"Recorregut cronol\u00f2gic"},"content":{"rendered":"\n
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Fins a 1936<\/strong><\/p>\n<\/div>\n\n\n\n

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La data de la primera obra escult\u00f2rica de Dal\u00ed \u00e9s encara incerta. Es mantenen en estudi algunes creacions de principis dels anys 20, en qu\u00e8 l’autoria de Dal\u00ed resulta indeterminada. Es tracta d’intervencions pict\u00f2riques en objectes decoratius que requereixen encara noves comprovacions abans d’establir o descartar l’autoria de Dal\u00ed.<\/p>\n\n\n\n

No \u00e9s fins a principis de la d\u00e8cada de 1930 que es defineix una primera i veritable etapa de producci\u00f3 escult\u00f2rica. L’any 1931 Dal\u00ed publica un article titulat \u00abObjets surr\u00e9alistes\u00bb a Le surr\u00e9alisme au service de la r\u00e9volution<\/em>[1]<\/a><\/sup> que es converteix en un manifest te\u00f2ric sobre les noves possibilitats de l’objecte on\u00edric proposat per Breton. Dal\u00ed teoritza sobre sis categories diferents d’objectes surrealistes i presenta el seu Objecte de funcionament simb\u00f2lic<\/em><\/a>, juntament amb els d’Alberto Giacometti, Valentine Hugo, Andr\u00e9 Breton i Gala \u00c9luard. Aquestes creacions es distingeixen pel seu car\u00e0cter simb\u00f2lic i fetitxista i s\u00f3n les que defineixen en primer terme l’obra escult\u00f2rica de Dal\u00ed entre el 1931 i el 1936. D’alguna manera, aquests objectes avalen la teoria de l’alliberaci\u00f3 de l’inconscient explicada en el m\u00e8tode paranoicocr\u00edtic, que l’artista comen\u00e7a a desenvolupar en l’assaig titulat \u00abL’ase podrit\u00bb, publicat l’any 1930 a La Femme visible<\/em>[2]<\/a><\/sup>.<\/p>\n\n\n\n

\"Publicaci\u00f3
Publicaci\u00f3 de les escultures involunt\u00e0ries a la revista Minotaure, 1933.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Durant aquest per\u00edode Dal\u00ed dedica diversos escrits a la teoria de l’objecte en totes les seves variants. Parla per primera vegada dels objectes \u00absuperrealistes\u00bb en un article que va apar\u00e8ixer a L’Amic de les Arts<\/em>[3]<\/a><\/sup> l’any 1929. A partir d’aquest moment, fa refer\u00e8ncia en nombroses ocasions a l’obra escult\u00f2rica i l’objecte i publica un seguit d’assaigs espec\u00edfics titulats \u00abThe object as revealed in Surrealist Experiment\u00bb[4]<\/a><\/sup> (1932), \u00abObjets psycho-atmosph\u00e9riques-anamorphiques\u00bb[5]<\/a><\/sup> (1933) i \u00abHonneur \u00e0 l’objet !\u00bb[6]<\/a><\/sup> (1936).<\/p>\n\n\n\n

En aquests anys tamb\u00e9 es pot descriure un altre tipus molt concret d’obra escult\u00f2rica, l’escultura-objecte. L’artista identifica d’aquesta manera el seu objecte surrealista Bust de dona retrospectiu<\/em><\/a>, creat l’any 1933, en el llibre La Conqu\u00eate de l’irrationnel<\/em>[7]<\/a><\/sup>. Malgrat que no incideix en els detalls conceptuals o t\u00e8cnics, aquest tipus de creaci\u00f3 es percep com un assemblatge d’objectes trobats o objectes de naturalesa no art\u00edstica.<\/p>\n\n\n\n

Dal\u00ed tamb\u00e9 participa en algunes creacions que representen nous reptes conceptuals a nivell art\u00edstic. \u00c9s el cas de les escultures involunt\u00e0ries, realitzades en col\u00b7laboraci\u00f3 amb el fot\u00f2graf Brassa\u00ef i presentades a la revista Minotaure<\/em>[8]<\/a><\/sup> l’any 1933. Aquestes obres s\u00f3n el resultat d’un acte de creaci\u00f3 autom\u00e0tica, en qu\u00e8 la mal\u00b7leabilitat de la mat\u00e8ria i la imatge fotogr\u00e0fica esdevenen els dos processos essencials. En aquest cas, es demostra la import\u00e0ncia que Dal\u00ed atorga a la fotografia dins el proc\u00e9s de creaci\u00f3 art\u00edstic, tal i com ell mateix destaca en un article publicat a la Gaseta de les Arts<\/em> l’any 1929: \u00abEl sol fet de la transposici\u00f3 fotogr\u00e0fica ja implica una total invenci\u00f3\u00bb[9]<\/a><\/sup>.<\/p>\n\n\n\n

Tamb\u00e9 resulta interessant comprovar que entre el 1933 i el 1936 Dal\u00ed es dedica amb una intensitat significativa a la creaci\u00f3 d’escultures de guix. Segurament l’exemple m\u00e9s conegut \u00e9s la seva famosa Venus de Milo amb calaixos<\/em><\/a> del 1936, avui a The Art Institute of Chicago, si b\u00e9 hi ha diverses obres a les quals Dal\u00ed dona forma amb aquest material. Algunes fotografies de l’arxiu del Centre d’Estudis Dalinians permeten veure Dal\u00ed treballant en escultures de guix a Portlligat vers el 1933. En algunes ocasions interv\u00e9 pict\u00f2ricament en escultures de guix d’altres autors, obres que s’han classificat en la categoria d’escultura intervinguda, com el bust de Joella Lloyd<\/em><\/a> de 1933-1934 del Museo Nacional Centro de Arte Reina Sof\u00eda de Madrid.<\/p>\n\n\n\n

En aquest primer tram cronol\u00f2gic tamb\u00e9 es poden trobar altres objectes especials com el Babaouo<\/a><\/em> del 1932, conservat a la Torre de tots els Enigmes del Teatre-Museu Dal\u00ed de Figueres, i El petit teatre<\/em><\/a>de 1934, del MoMA de Nova York. I, per altra banda, algunes instal\u00b7lacions que es coneixen \u00fanicament per fotografies de l’\u00e8poca.<\/p>\n\n\n\n

En relaci\u00f3 amb el proc\u00e9s de creaci\u00f3, cal destacar que en aquesta primera etapa s’han identificat essencialment obres originals \u00faniques<\/a>. Dins d’aquest conjunt s’han detectat algunes obres originals \u00faniques amb versions<\/a>, \u00e9s a dir, obres modificades per Dal\u00ed mateix despr\u00e9s de la seva primera exposici\u00f3 i que mostra successivament amb elements nous. Cadascuna d’aquestes presentacions noves s’ha identificat com a versi\u00f3 original \u00fanica<\/a>. En aquest sentit, el cas m\u00e9s paradigm\u00e0tic \u00e9s el del Bust de dona retrospectiu<\/em><\/a>, que, despr\u00e9s de presentar-la per primera vegada a la galeria Pierre Colle de Par\u00eds el 1933, Dal\u00ed modifica a partir del 1934, fet que dona lloc a noves versions que es documenten fins al 1939.<\/p>\n\n\n\n

Per aquest motiu, aquest primer tram d’obres datades fins al 1936 tamb\u00e9 inclou aquestes versions de cronologia posterior, pel fet d’estar associades a la creaci\u00f3 de l’obra original \u00fanica del 1933.<\/p>\n\n\n\n

    \n
  1. <\/a> Salvador Dal\u00ed, \u00abObjets surr\u00e9alistes\u00bb, Le surr\u00e9alisme au service de la r\u00e9volution<\/em>, num. 3, 12\/1931, Par\u00eds, p. 16-17, [l\u00e0m. 5-6]. A Obra Completa<\/em>, vol. IV, Assaigs 1<\/em>, Destino, Fundaci\u00f3 Gala-Salvador Dal\u00ed, Barcelona, Figueres, 2005, p. 226-231.<\/li>\n\n\n\n
  2. <\/a> Salvador Dal\u00ed, La femme visible<\/em>, \u00c9ditions surr\u00e9alistes, Paris, 1930, p. [9]-[20].<\/li>\n\n\n\n
  3. <\/a> Salvador Dal\u00ed, \u00abObjectes superrealistes. Objectes on\u00edrics\u00bb, L’Amic de les Arts<\/em>, any IV, n\u00fam. 31, 31\/03\/1929, Sitges, p. 10.<\/li>\n\n\n\n
  4. <\/a> Salvador Dal\u00ed, \u00abThe object as revealed in surrealist experiment\u00bb, This Quarter<\/em>, vol. 5, no. 1, 09\/1932, London, p. 197-207. A Obra Completa<\/em>, vol. IV, Assaigs 1<\/em>, Destino, Fundaci\u00f3 Gala-Salvador Dal\u00ed, Barcelona, Figueres, 2005, p. 254-269.<\/li>\n\n\n\n
  5. <\/a> Salvador Dal\u00ed, \u00abObjets psycho-atmosph\u00e9riques-anamorphiques\u00bb, Le surr\u00e9alisme au service de la r\u00e9volution<\/em>, num. 6, 05\/1933, Paris, p. 45-48. A Obra Completa<\/em>, vol. IV, Assaigs 1<\/em>, Destino, Fundaci\u00f3 Gala-Salvador Dal\u00ed, Barcelona, Figueres, 2005, p. 270-277.<\/li>\n\n\n\n
  6. <\/a> Salvador Dal\u00ed, \u00abHonneur \u00e0 l’objet !\u00bb, Cahiers d’art<\/em>, num. 1-2, 05\/1936, Paris, p. 53-[59]. A Obra Completa<\/em>, vol. IV, Assaigs 1<\/em>, Destino, Fundaci\u00f3 Gala-Salvador Dal\u00ed, Barcelona, Figueres, 2005, p. 431-443.<\/li>\n\n\n\n
  7. <\/a> Salvador Dal\u00ed, La Conqu\u00eate de l’irrationnel<\/em>, \u00c9ditions Surr\u00e9alistes, Paris, 1935, pl. 24.<\/li>\n\n\n\n
  8. <\/a> [Salvador Dal\u00ed], \u00abSculptures involontaires\u00bb, Minotaure<\/em>, num. 3-4, 12\/1933, Paris, p. [68].<\/li>\n\n\n\n
  9. <\/a> Salvador Dal\u00ed, \u00abLa dada fotogr\u00e0fica\u00bb, La Gaseta de les Arts<\/em>, any II, n\u00fam. 6, 02\/1929, Barcelona, p. 40.<\/li>\n<\/ol>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Fins a 1936 La data de la primera obra escult\u00f2rica de Dal\u00ed \u00e9s encara incerta. Es mantenen en estudi algunes creacions de principis dels anys 20, en qu\u00e8 l’autoria de Dal\u00ed resulta indeterminada. Es tracta d’intervencions pict\u00f2riques en objectes decoratius que requereixen encara noves comprovacions abans d’establir o descartar l’autoria de Dal\u00ed. No \u00e9s fins […]<\/p>\n","protected":false},"author":1,"featured_media":472,"parent":428,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","footnotes":""},"categories":[],"tags":[],"class_list":["post-471","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nRecorregut cronol\u00f2gic | Fundaci\u00f3 Gala - Salvador Dal\u00ed<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/catalogues.salvador-dali.org\/catalogues\/ca\/cataleg-raonat-escultures\/intro\/recorregut-cronologic\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recorregut cronol\u00f2gic | Fundaci\u00f3 Gala - Salvador Dal\u00ed\" \/>\n<meta property=\"og:description\" content=\"Fins a 1936 La data de la primera obra escult\u00f2rica de Dal\u00ed \u00e9s encara incerta. 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