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Salvador Dali

The artwork of Salvador Dali has captured the minds of his viewers for years. His unique take on surrealist art has inspired some of the greatest artistic minds. Dali’s “The Disintegration of the Persistence of Memory” is a perfect example. A recreation of Dali’s “The Persistence of Memory”, “The Disintegration of the Persistence of Memory” was painted around 1954, oil on canvas, and measures 25. 4 x 33 cm or 10 x 13 in. This painting is currently located at the Salvador Dali Museum in St. Petersburg, Florida. In this painting, Dali takes the bizarre scene from “the Persistence of Memory” and tears a hole in its reality.

He deforms the already deformed world, creating yet another strange, and yet somehow familiar, setting. The ground shows the most distortion, having had most of it completely removed. The hands on the clocks are detached, and even the tree holding one of the clocks is segmented. The water in the background remains the same, but with the dessert floor gone, the body of water seems to be floating in space. Compared to “The Persistence of Memory”, where the dessert where eye tends to simply pan the landscape, “The Disintegration of the Persistence of Memory” gives the eye a clear direction with its use of geometric shapes.

Even though the piece is disconnected from itself, it shows much better use of perspective, which draws the viewer in despite its increasingly surreal portrayal. Not only do the cubes add a definite sense of perspective, but also the curving cylinders lead the eye to and from the water. Probably the most interesting subject in the painting is the body of water. Since the ground disappears before reaching it, the shoreline is nonexistent. A tree that is in front of the lake in the original is now divided, with half of it growing out of the invisible ground and the other half growing out of the lake.

However, the lake also appears to be growing out of the tree. The reflection of the mountain, while it still appears in the lake, it has an unearthly feel to it, looking more like the mountains themselves than a reflection. The clocks, which were the staples of the original piece, are still prominent, but for a new reason. Following Dali’s ever-present theme of distortion of reality, the clocks established reality is distorted even further. Originally the clocks were melting, deformed in ways clocks are never really seen.

In this new reality, the clocks basic shapes remain the same, but the fundamentals have changed. The hands, while still melted to the same degree as their respective clocks, now free-float, unbound and free of the clock face. Even though the hands are now their own objects, they still conform to the clocks, as if that’s the way they prefer to be. The frames of the clocks are also disconnected, forming cylinders. These cylinders add more movement to the piece, implying that the clocks are still melting. There is a new clock in this rendition located below the ground.

This clock could tell us that there are secrets everywhere to be uncovered if we look through different eyes. The new, yet familiar, landscape of “The Disintegration of the Persistence of Memory” is superior to the original, largely because it takes the world in “The Persistence of Memory” and stretches the already distorted reality, creating a new world all its own. In this new world, there is a new sense of movement in almost everything, some of it in ways that are hard to imagine. Perhaps the most notable is the disintegration of reality itself.

Everything is floating on air, and it looks like everything could fall to pieces at any second. However, an invisible force keeps everything together and balanced. This force could be the artist’s way of telling us that things are always as they should be and that in the end, everything will put itself together. – Dali, Salvador. “The Disintegration of the Persistence of Memory. ” c. 1954. Salvador Dali. “The Disintegration of the Persistence of Memory. ” c. 1954. Oil on canvas. 25. 4 X 33 cm. or 10 X 13 in. Salvador Dali Museum, St. Petersburg, Florida.

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