Dalí's fascination with mathematics is incorporated with his return to his Catholic faith in later life. The cross itself, an eight sided octahedral cube, represents the possible theoretical reflection of a separate 4-dimensional world. Even the nail holes in the palms and feet are not present, as Salvador shows us his perfect redemption. Of particular note is the stunning athleticism with which the crucified savior is represented. In this work, Dalí is giving us a crucifixion in the age of modern science, completing his theme started in Christ of St. The most noble beings were painted by Velazquez and Zurbaran I only approach nobility while painting Gala, and nobility can only be inspired by the human being."Ĭrucifixion is a stunning work that successfully combines elements of Dalí's Nuclear Mysticism with his return to his Catholic heritage during this time. She is depicted in front of the Bay of Port Lligat. The extremely noble figure of Gala is the perfect union of the development of the hypercubic octahedron on the human level of the cube. The number nine is identifiable and becomes especially consubstantial with the body of Christ. ![]() The cross is formed by an octahedral hypercube. "Metaphysical, transcendent cubism" is the way that Dalí defines his picture, of which he says: "It is based entirely on the Treatise on Cubic Form by Juan de Herrera, Philip II's architect, builder of the Escorial Palace it is a treatise inspired by Ars Magna of the Catalonian philosopher and alchemist, Raymond Lulle. The painting may be regarded as one of the most significant of his religious oils in the classical style, along with The Madonna of Port Lligat, Christ of Saint John of the Cross, and The Last Supper, which is in the National Gallery in Washington, D.C. It was at the end of spring in 1953 in Port Lligat that Dalí began this work, but it is dated 1954, the year in which it was finished and then exhibited in the month of December at the Carstairs Gallery in New York. This picture will be the great metaphysical work of my summer." First I have ideas, I explain them later. To a reporter who asked him why he wanted to depict Christ exploding, he replied, "I don't know yet. He said that it would be the first picture painted with a classical technique and an academic formula but actually composed of cubic elements. When disembarking from the steamship America in Le Havre on March 27, 1953, on his return from New York, Dalí announced to the reporters gathered around him that he was going to paint a picture he himself termed as sensational: an exploding Christ, nuclear and hypercubic. The painting can be interpreted as Gala's body either disintegrating or integrating. In a later explanation of the work, Dalí wrote that Gala was rising to heaven with the aid of "anti-matter Angels". ![]() Dalí had a glass floor put in his studio so that he could look up or down on his models in order to recreate this perspective.ĭalí saw this painting as an interpretation of the philosopher Nietzsche's idea of natural strength, although here we have Gala as a "superwoman", ascending to heaven through her own innate force. The boy's body forms a triangle, a shape repeated by Gala's arms and head above. The model for Christ was a boy from Cadaqués called Juan whom the Dalís were very close to, treating him like an adopted son. Like the Madonna, Gala is exploding, her body delineated by the rhinoceros horns that swirl about the painting.Ībove an altar is the figure of the crucified Christ. The outline of the Pantheon can be seen, the top of which acts as a halo to Gala's head. ![]() Lapis-lazuli Corpuscular Assumption repeats several of the images seen in Raphaelesque Head Exploding (1951).
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