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Topic:  Salvador Dali & Surrealism
Abstract
With its incredible, exceptional feel, and its dissolving pocket watches and mollusk-like focal figure strewn about a fruitless scene, Salvador Dalí’s The Persistence of Memory seems to be entirely fanciful. Truthfully, it sprang from the craftsman’s artistic ability, as well as from his remembrances of the coastline of his home Catalonia, Spain. As he once clarified: “This picture represented a landscape near Port Lligat, whose rocks were lighted by a transparent and melancholy twilight; in the foreground, an olive tree with its branches cut, and without leaves.”
This oil painting estimates 9 1/2 x 13 inches, or 24.1 x 33 cm and is displayed at the Museum of Modern Art in New York (MoMA). The Persistence of Memory contains a light blue skyline, which gradually blurs downward from blue to yellow over the top quarter of the artistic creation. Under the horizon sits a waterway, or what seems to be a vast lake or a reflecting pool. The body of water follows the background until the point when it interacts s with neighboring mountains to one side. Before the mountains, there is a lone pebble (Dalí, Salvador, & Richard, 99). The ground in The Persistence of Memory is a dull brown colored that nearly turns dark in specific territories. On it lays a white figure on its right side with another silver-shaded melting clock on its back. The white outline is human-like, with highlighted huge eyelashes. It has what appears to be a trademark Salvador Dali mustache and lips where eyebrows would be on a human face. Its nose is flared and has another little dark colored object coming out of his nostril. The white figure has no other human-like qualities or even limps. Whatever is left of the landscape around the white figure is barren and dark (Kachur, 1044).

On the left near the water, Dali puts a reflective, blue, raised, rectangular stage with dim dark colored trimming around the edges. Before this stage, there is another single pebble. A dead tree with a hollow top is before it, missing the majority of its leaves and branches but one. The only branch holds a silver pocket watch which has all the earmarks of being melting on the end of the branch demonstrating the numbers three through nine. Just a single hand of the clock appears, pointing at the 6. The tree is situated over a light darker square object that looks almost like a desk. The dark-colored object assumes control over the base left corner of the painting and even goes off the canvas. On this object, two more pocket watches are residing. One of them is gold and is melted, hanging mostly off the light darker solid cube. The hands of the gold watch are ceased at five of seven, and there is a fly on the face close to the 1 o’clock check. The fly is additionally throwing a little shadow, which is molded more like a human. The other pocket watch is bronze and is shut. The outside of the pocket watch is secured with a swarm of dark ants. In contrast to alternate timekeepers, this is shut, and the particular case that isn’t melted or warped of the four.
The shading and values in this artwork are exceptionally drawn out and definite. The shadows in Dali’s Persistence of Memory are the essence of the piece, making a universe that has never been seen. Thick qualities feature points of interest and color, giving a three-dimensional illusion to this piece. On the tree, the values are inferred to make the illusion of bark, while the limp clock it is hanging on its branch utilizes values to a make three-dimensional impact and tarnished. The dark-colored object (brownish) additionally uses coloring to get this impact. The watches on the dark-colored cube have itemized shading nearby them, and utilize color to shade and give a sparkling impression. The melting one uses a lot of shading on the face, while the watch with the ants attracts attention to the creepy insects covering it. The ground is principally solid dark colored, with bright dark shadows overwhelming the scene. This stresses the measure of daylight that appears in the scene, reflecting off of other interrelating objects (Gaertner, Johannes, 381).

The Persistence of Memory utilizes the fundamental components of art including values, a plethora of lines, shapes, colors, form, and texture (Glatstein). The lines that Dali utilizes in the artistic creation differ on the shape which he is working. The majority of the creative work contains lines that are generally thin and comparative in width, except for the mountains, and the eyelashes of the white figure. The lines on the mountains are observable and give them a harsh sensible methodology. On the white figure, Dali utilizes distinctive lengths and widths to make uniqueness in each lash. He likewise makes everything point by point down on the bronze watch. The lines that make up the clocks are detailed to the point that they even show each number on the faces. The utilization of lines likewise enhances the sensible look of the impression of the mountains in the water. The lines on the stage and a darker object are straight and symmetric. He doesn’t leave many clear outline stamps in this canvas, so it isn’t clear or simple to recognize his lines from shading. The lines that he shows more often usually compliment the dull shadows of his surrealist landscape.
This painting contains a collection of forms and shapes that add to the uniqueness of its style. There are recognizable shapes and forms, and unidentifiable ones all through the art. The blue stage in the far corner is a definite three-dimensional rectangle shape, just like the large dark colored cube before it. In these items, the lines are straight and stable, and even though the question isn’t identifiable, the geometric shapes are (Jirousek). How the clocks are melting includes a feeling of flimsiness and movement. The mountains are familiar shapes, alongside the waterway encompassing them. The tree is effectively recognized, as are ants and the fly. The white figure is relatively cubist, missing parts and anatomical structures, to some degree looking like a Picasso or Braque painting. Despite everything, it contains human characteristics, similar to the eyelashes and the nose yet does not have a solid shape. A considerable lot of the articles in this work of art interface with others, either touching or resting. The clocks are a case of this since they nearly form to whatever object they come into contact. This artwork is three dimensional, abstract, and geometric, and does not adhere to every form (Jirousek) and traditional shape (Dalí, 205).

Dali’s making of this painting was not drug persuaded, but rather from and bizarre dreams (Rochfort) and melting cheese. The message Dali is attempting to spread is that life is quick paced and loaded with decisions which some of the time create troublesome results. However, we proceed onward. The clocks are just stepping stones into the absolute importance behind the work of art. The silver watch on the tree is indicative of a period which has as of late passed (Being second nearest to the white figure). The gold watch symbolizes the most significant long stretches of life gradually moving away. The closed bronze watch with the ants could signify a period which the craftsman needed to proceed onward and forget. The one over the white figure symbolizes the place that he is at now and right now endeavoring to survive. The rocks painted on opposite sides of the canvas signify detachment between sweethearts. The splits in the mountains are deterrents that one faces previously they can achieve a steady point throughout everyday life and discover happiness. The high blue stage up in the back symbolizes the way to higher personal satisfaction; while the dead tree indicates mortality and that nothing lives until the end of time. The fly’s shadow looking like a man could be another image of Dali’s love escaping, or that he wishes to avoid reality. Numerous sources express that Salvador Dali had fallen in Gala, his only love and muse involve into her various pieces (Salvador Dali-A Soft Self-Portrait) (Finkelstein, Haim, ; Salvador, 111).

Conclusion
This piece characterizes surrealism, breaking a large number of standards recently embraced by critics and artists. The painting itself mirrors a great deal on Salvador Dali and the manner in which he sees life. His authoritarian style is impressive, and his “dream photographs” (Clocking in with Salvador Dali) are mind-blowing. His utilization of lightning and colors make a three-dimensional experience that was never observed. The similar characteristics and crazy animals that possess the piece make it so great and separate it from the rest. It has even been noticed that the white figure found in the sketch is a self-picture of Dali, (taking a look at the mustache over its eyelashes) (Clocking in with Salvador Dali).

Work Cited
Dalí, Salvador, Michel Déon, and Richard Howard. Diary of a Genius. New York: Doubleday, 1965.

Dalí, Salvador. “The object as revealed in Surrealist experiment.” This Quarter 5.1 (1932): 205.

Finkelstein, Haim N., and Salvador Dalí. Salvador Dali’s art and writing, 1927-1942: the metamorphoses of Narcissus. Cambridge: Cambridge University Press, 1996.

Gaertner, Johannes A. “The Persistence of Memory by Salvador Dali.” College Art Journal 17.4 (1958): 381-381.

Kachur, Lewis. Displaying the Marvelous: Marcel Duchamp, Salvador Dalí, and surrealist exhibition installations. Mit Press, 2003.