Persistance de la mémoire corpusculaire (The Corpuscular Persistence of Memory)

• Carstairs Gallery, New York
• E. and A. Reynolds Morse, Cleveland (Ohio)

• Although it was listed as Persistance de la mémoire corpusculaire in the catalogue of the exhibition at the Carstairs Gallery in New York in 1952-1953, this painting was first shown two years later, in the same gallery, with the title The Chromosome of a Highly-colored Fish's Eye Starting the Harmonious Distintegration (sic) of the Persistence of Memory. Dalí coined the word 'distintegration' for the new title. We have opted to correct this and use 'disintegration' in the official title.

• 1952, New York, Carstairs Gallery, Dalí: The First Mystico-Nuclear paintings and the Assumpta Corpuscularia Lapislazulina, December 1952 - January 1953, cat. no. 6
• 1954, New York City, Carstairs Gallery, Dali 1954, December 1954 - January 1955, cat. no. 9
• 1965, New York, Gallery of Modern Art, Salvador Dalí, 1910-1965, 18-12-1965 - 13-3-1966, cat. no. 131
• 2004, Venezia, Palazzo Grassi, Dalí, 12-9-2004 - 16-1-2005, cat. no. 224
• 2006, Tokio, Ueno Royal Museum, Salvador Dali centennial retrospective, 23-9-2006 - 4-1-2007, cat. no. 46
• 2007, St. Petersburg, Fl., Salvador Dalí Museum, Dalí and the Spanish Baroque, 2-2-2007 - 24-6-2007, cat. no. 10
• 2009, Melbourne, National Gallery of Victoria, Salvador Dalí : liquid desire, 13-6-2009 - 4-10-2009, no reference

• Dalí, Les Éditions du Chêne, Paris, 1957, il. XI
• A. Reynolds Morse, Michel Tapié, Dalí: a study of his life and work, New York graphic Society, Greenwich [Connecticut], 1958, p. 71
• [A. Reynolds Morse], A new introduction to Salvador Dalí, The Reynolds-Morse Foundation, Cleveland [Ohio], 1959, back cover
• 100 aquarelles pour la Divine Comédie de Dante Alighieri par Salvador Dalí, Joseph Foret, Les Heures Claires, Paris, 1960, p. 61
• s. a., "Kultur. Malerei. Salvador Dalí", Der Spiegel, 28/12/1960, Hamburg, p. 6 (detail)
• Lola Aguado, "Los tres maestros españoles de la pintura mundial de hoy. ¿Quién es Dalí?", Gaceta Ilustrada, 03/02/1962, Madrid, n. p. (detail)
• Salvador Dalí, 1910-1965, The Foundation for Modern Art, New York, 1965, p. 115
• Paul H. Walton, Dali / Miró, Tudor Publishing Company, New York, 1967, il. 37
• Max. Gérard, Dalí de Draeger, Blume, Barcelona, 1968, il. 120
• s. a., "[Salvador Dali's Painting...]", Countra Costa Times, 24/04/1970, Walnut Creek, California, n. p. (detail)
• Ninety-three oils by Salvador Dalí : 1917-1970, The Salvador Dalí Museum, Cleveland, 1973, cover, p. 174 (detail)
• Salvador Dalí, Les Dîners de Gala, Felicie, Inc., New York, 1973, p. 248-249 (detail)
• Salvador Dalí ... a panorama of his art, The Salvador Dalí Museum, Cleveland, 1974, p. 3, p. 103, p. 174, p. 174 (detail)
• Jacques Dopagne, Dalí, Fernand Hazan, Paris, 1974, il. 60
• William Gaunt, Los Surrealistas, Labor, Barcelona [etc.], 1974, p. 175
• Luis Romero, Todo Dalí en un rostro, Blume, Madrid, Barcelona, 1975, p. 167
• Salvador Dalí, René Passeron, Salvador Dalí, Filipacchi, Paris, 1978, p. 60
• Salvador Dalí, selected works, Filipacchi, New York, 1979, p. 60
• Jordan R. Young, "Salvador Dali, a divina paranóia", Arte Hoje, 31/07/1979, Rio de Janeiro, p. 17
• Homage to Dalí, Chartwell Books, Secaucus, New Jersey, [1980], p. 34
• s. a., "Dalí le pitre ne vaut pas le peintre", Télérama, 09/01/1980, Paris, n. p. (detail)
• Dawn Ades, Dalí and surrealism, Harper & Row, New York, 1982, p. 189
• Conroy Maddox, Dalí, Newness Books, Feltham [Middlesex], 1983, p. 78-79
• Conroy Maddox, Dalí, Benedick Taschen, Köln, 1983, p. 78-79 (detail)
• Ignacio Gómez de Liaño, Dalí, Polígrafa, Barcelona, 1983, il. 107
• Sarane Alexandrian, Dalí, Fernand Hazan, Paris, 1985, il. 60
• Takahiko Okada, Dalí, Shueisha, [S.l.], 1986, p. 76
• Josep Vallès i Rovira, Dalí delit Empordà, Carles Vallès, Figueres, 1987, p. 94
• June Hurley Young, "The images of Salvador Dali", Tampa Bay Magazine, 31/10/1987, Tampa Bay, FL, p. 42
• Dalí: the Salvador Dalí museum collection, Bulfinch, Boston. Toronto. London, 1991, il. 82, dustjacket
• Eric Shanes, Dalí, Debate, Madrid, 1991, p. 127
• Luis Romero, PsicoDálico Dalí, Mediterranea, Barcelona, 1991, p. 187
• A. Reynolds Morse, Dali's animal crackers, Salvador Dalí Museum, St. Petersburg, Florida, 1993, p. 102
• Nathaniel Harris, The Life and works of Dalí, Parragon, [Regne Unit], 1994, p. 70-71
• Robert Descharnes, Gilles Néret, Salvador Dalí, 1904 -1989, Benedikt Taschen, Köln, 1994, p. 461
• Christopher Masters, Dalí, Phaidon, London, 1996, p. 113
• Kenneth Wach, Salvador Dalí : masterpieces from the collection of the Salvador Dalí Museum, Harry N. Abrams, Salvador Dalí Museum, St. Petersburg, Florida, New York, 1996, dustjacket, p. 101
• Robert Radford, Dalí, Phaidon, London, 1997, p. 252-253
• Dawn Ades, Dalí, Thames and Hudson, London, 1998, p. 189 (Il. 154)
• Robert Goff, The Essential Salvador Dalí, Harry N. Abrams, New York, 1998, p. 99
• James Rosenquist: paintings|James Rosenquist: selects Dalí, Salvador Dalí Museum, St. Petersburg, Florida, 2000, p. 53
• Robert S. Lubar, The Salvador Dalí Museum collection, Bulfinch, Boston - New York - London, 2000, p. 137
• Les Essentiels de l'art Dalí, Ludion, Amsterdam, 2003, p. 303
• The Portable Dalí, Universe, New York, 2003, p. 303
• Ricard Mas Peinado, Universdalí, Lunwerg, Barcelona, Madrid, 2003, p. 151
• Sebastià Roig, Jordi Puig, Dalí : el triangle de l'Empordà, Fundació Gala-Salvador Dalí, Triàngle Postals, Figueres, Menorca, 2003, p. 117
• Persistence and memory : new critical perspectives on Dalí centennial, Bompiani, [Milà], 2004, cover
• Linde Salber, Salvador Dalí, Rowohlt, Reinbek bei Hamburg, 2004, p. 107
• Silvia Borghesi, Dalí, Electa, Milán, 2004, p. 108-109
• Dalí, Rizzoli, New York, 2005, p. 367
• Pollock to Pop : America's brush with Dalí, Salvador Dalí Museum, St. Petersburg, 2005, p. 67
• Dalí and the Spanish Baroque, The Salvador Dalí Museum, St. Petersburg, 2006, p. 20
• Salvador Dali centennial retrospective, Ueno Royal Museum, Ueno, 2006, p. 133, p. 220, p. 132 (detail), cover (detail)
• Salvador Dalí à la croisée des savoirs, Desjonquères, Paris, 2007, p. 44
• The Dalí renaissance : new perspectives on his life and art after 1940, Philadelphia Museum of Art, Philadelphia, 2008, p. 80
• Alessandro Del Puppo, Dalí et le surréalisme, E-ducation.it S.p.A, Florence, 2008, p. 130
• Gavin Parkinson, Surrealism, art and modern science : relativity, quantum mechanics, epistemology, Yale University, New Haven & London, 2008, p. 211
• Mª Mercè Riera i Arnijas, Dalí, Ciro, [Barcelona], 2008, p. 117, p. 142
• Salvador Dalí : liquid desire, National Gallery of Victoria, Fundació Gala-Salvador Dalí, The Salvador Dalí Museum, St. Petersburg, Florida, Melbourne, Figueres, 2009, p. 260
• Montse Aguer i Teixidor, Los tesoros de Salvador Dalí, Librería Universitaria, Barcelona, 2009, p. 37
• Salvador Dalí : the late work, High Museum of Art, Yale University Press, Atlanta, New Haven and London, 2010, p. 167
• Salvador Dalí, Oui 1 : la révolution paranoïaque-critique, 1971|Oui 2 : l'archangélisme scientifique, 1971, Michitani, Tokyo, 2010, dustjacket, title page
• Linda Lissack, Selwyn Lissack, Dalí in holographic space, Story and Digital Art, [S.l.], 2012, p. 80, p. 89
• Roger Rothman, Tiny surrealism : Salvador Dalí and the aesthetics of the small, University of Nebraska, Lincoln & London, 2012, p. 209
• Clyde Butcher: visions of Dali's Spain, The Dalí Museum, St. Petersburg, Florida, 2018, p. 44

The copyright on Salvador Dalí's works, included those that are reproduced in this Web page, is held by the Spanish State and has been granted in exclusivity to the Fundació Gala-Salvador Dalí.

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Any exploitation of Salvador Dalí's works is subject to the prior application and clearance of the relevant licence issued by VEGAP (tel. 91 532 66 32 and 93 201 03 31 ; www.vegap.es). Copyright infringement will be prosecuted according to Laws.