Visage paranoïaque (Paranoiac Face)

• Edward James
• Auctioned at Christie's, West Dean Park, Chichester, West Sussex, June 5th, 1986

• In the text Communication: Visage paranoïaque Dalí explains the origin of this double image, a common technique in works of this period: "After a study, when I was obsessed in a deep reflection on Picasso's faces, in particular those of the black period, I looked for an address in a pile of papers and suddenly I saw myself altered by the reproduction of a face I believe corresponded to Picasso, a face absolutely unknown. Suddenly, this face disappeared and I realized the illusion (?). The analysis of the paranoiac image in question allowed me to recover, using a symbolic interpretation, all the ideas that preceded the vision of the face. André Breton has identified the face with that of Sade, which matches the particular preoccupation Breton has about Sade. In the hair of the face in question, Breton saw a powdery wig, while I saw an unpainted fragment of the canvas, which is often found in Picasso's style." (Le Surréalisme au Service de la Révolution, number 3, December 1931). Moreover, in the La Conquête de l'irrationnel (1935), Dalí states that this painting can be contemplated both horizontally and vertically (image 2).

• 1936, London, New Burlington Galleries, International Surrealist Exhibition, 11-6-1936 - 4-7-1936, cat. no. 62
• 1936, New York, The Museum of Modern Art, Fantastic art dada surrealism, 9-12-1936 - 17-1-1937, cat. no. 320
• 1999, New York, Solomon R. Guggenheim Museum, Surrealism: two private eyes, the Nesuhi Ertegun and Daniel Filipacchi collections, 4-6-1999 - 12-9-1999, cat. no. 55

• Salvador Dalí, La Conquête de l'irrationnel, Éditions Surréalistes, Paris, 1935, il. 30
• Jr. Alfred H. Barr, Fantastic Art Dada Surrealism, The Museum of Modern Art, New York, 1936, il. 320
• s. a., "Marvelous & Fantastic", Time, 14/12/1936, New York, p. 61
• John G. Frey, "From Dada to Surrealism", Parnassus, 31/12/1936, New York, p. 12
• A. Reynolds Morse, Michel Tapié, Dalí: a study of his life and work, New York graphic Society, Greenwich [Connecticut], 1958, p. 44
• Salvador Dalí, Le Mythe tragique de l'Angélus de Millet : interprétation "paranoïaque-critique", Jean-Jacques Pauvert, Paris, 1963, p. 28
• Luis Romero, Todo Dalí en un rostro, Blume, Madrid, Barcelona, 1975, p. 205
• He näkevät mitä me emme näe. Turkulaista surrealismia 1932-1976, Turun Taidemuseo, WälmÑi Aaltosen museo, [S.l.], 1977, p. 9, il. 8
• Salvador Dalí, El Mito trágico del Angelus de Millet, Tusquets, Barcelona, 1978, p. 27
• Salvador Dalí, Oui 1. La révolution paranoïaque-critique, Denöel/Gonthier, Paris, 1979, n. p. (detail)
• Salvador Dalí, Oui 2. L'archangélisme scientifique, Denöel/Gonthier, Paris, 1979, p. [41] (detail)
• Peter Gorsen, Kunst und Krankheit, Metamorphosen der ästhetischen Einbildungskraft, Europäische Verlagsanstalt, Frankfurt am main, 1980, p. 195
• Salvador Dalí, Sì. La rivoluzione paranoico-critica. L'arcangelismo scientifico, Rizzoli, Milano, 1980, p. 41
• El Surrealismo, Cátedra, Madrid, 1983, p. [162]
• Ignacio Gómez de Liaño, Dalí, Polígrafa, Barcelona, 1983, p. 15
• Maria Gabriella Guglielmi, Fotografia e paranoia. L'occhio di Salvador Dalí, Arnica, Roma, 1983, p. 24
• Effetto Arcimboldo, Bompiani, Milano, 1987, p. 289
• Monic Amstad, "Edward James, Poet, Surrealist, Exzentriker", Du, 31/12/1987, Zürich, Suïssa, p. 32-33 (detail)
• Grands Peintres : Dalí, COGEDI-PRESSE, Paris, 1988, cover, p. 2
• Entender la pintura : Dalí, Orbis - Fabri, Barcelona, 1989, p. 22
• Paul Moorhouse, Dalí, Magna Books, Wigston [Anglaterra], 1990, p. 19
• Dalí: the Salvador Dalí museum collection, Bulfinch, Boston. Toronto. London, 1991, p. 161
• Briony Fer, David Batchelor, Paul Wood, Realism, rationalism, surrealism : art between the wars, Yale University Press in association with the Open University, New Haven & London, 1993, p. 224 (indirect image)
• Dalí, Cercle d'Art, Paris, 1994, p. 7
• Salvador Dalí, Polígrafa, Barcelona, 1994, n. p. (detail)
• Robert Descharnes, Gilles Néret, Salvador Dalí, 1904 -1989, Benedikt Taschen, Köln, 1994, p. 249
• David Carter, Salvador Dalí, Chelsea House, New York - Philadelphia, 1995, p. 14 (indirect image)
• A surreal life: Edward James, 1907-1984, Royal Pavillion, Librairies & Museums, Brighton & Hove, Philip Wilson, London, 1998, p. 53
• Surrealism: two private eyes, the Nesuhi Ertegun and Daniel Filipacchi collections, Guggenheim Museum Publications, New York, 1999, p. 110
• Dalí's optical illusions, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 2000, p. 31
• Mary Ann Caws, Surrealism, Phaidon, London, 2004, p. 36
• Patrice Schmitt, Étude psychanalytique de la création chez Salvador Dalí, Lacour-Ollé, Nimes, 2004, il. 2.6
• Dalí, Unidad Editorial, [S.l.], 2005, p. 137
• Salvador Dalí, Obra completa : Ensayos 2, Destino, Fundació Gala-Salvador Dalí, Sociedad Estatal de Conmemoraciones Culturales, [Madrid], [Figueres], Barcelona, 2005, p. 421
• Angela Wenzel, The Mad, mad, mad world of Salvador Dali, Prestel, Munich, 2007, p. 22
• Marc Aufraise, Caroline Barbier de reulle, Marijke Peyser-Verhaar, Astrid Ruffa, Mathilde Hamel, Gabriel Montua, [Coberta]|[Sumari]|Éditorial|Les prémices du théâtre photographique de Salvador Dalí (1932-1933)|Portraits de fantasmes|Salvador Dalí et la musique|Salvador Dalí et le mécénat du Zodiaque|Salvador Dalí, théoricien de l'art surréaliste|Les Nuées de Salvador Dalí, ou le surréalisme mis en scene|Salvador Dalí face au marché de l'art, Éditions du Centre Pompidou, Paris, 2012, p. 76-77
• Shûzô Takigushi, Dalí : Tokio, 1939, Notari, Genève, 2012, il. 33 (indirect image)
• William Jeffett, Juan José Lahuerta, Picasso-Dalí, Dalí-Picasso, Museu Picasso, Salvador Dalí Museum, Sant Petersburg, Barcelona, 2014, p. 50 (indirect image)
• Dali : poetics of the small, 1929-1936, Meadows Museum, Dallas, 2018, p. 34, p. 35

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