As the twentieth century draws to a close, the Spanish-born artist Salvador Dali has gradually come to be seen, .alongside the likes of Picasso and Matisse, as a prodigious figure whose life and work occupies a central and unique position in the history of modern art. Indeed, following his temporary allegiance to Andre Breton”s Surrealism – perhaps the most dominant and influential movement of this century – Dali has come to be regarded not only as its most well-known exponent but also, to many people, as an individual artist synonymous with Surrealism itself. In addition to this, the broad and multifarious nature of his oeuvre has contributed significantly to the scope and extent of his reputation: not only was Dali a painter (and, of course, draftsman, illustrator, and printmaker) but he was also a sculptor, a maker of objects, of ceramics, of furniture and of jewelry; he was also a film maker, theorist, novelist, autobiographer and perhaps most crucially of all, a master of self-publicity. For without this last ingredient, through which both his famous moustachioed persona was presented and his identity as an artist, for whom art and life had become one, was staged, Salvador Dali would not have acquired the international fame and status that he has. Indeed only now, a decade after his death, is the complexity of his “exhibitionism,” as a central, motivating force for his art and lifestyle, being fully appreciated.
|Раздел:||Изобразителни изкуства, Изкуство, Книги|