Dalí re-imagines Vermeer
The Ghost of Vermeer of Delft Which Can Be Used as a Table, 1934.
One of my students is writing a paper on a couple of Dalí paintings; I didn't recognize them from her descriptions of them and so went a-Google-ing for them yesterday. It was while hunting for them that I ran across these images, which make explicit reference to certain of Vermeer's works.
They're here because, well, it's my blog and (not that I'm all that familiar with Dalí in the first place) these are new-to-me images that are at least intriguing to me because of my appreciation for Vermeer--and in the case of The Ghost of Vermeer I genuinely like. Beyond that, I don't have much to say about them aside from the rather simplistic speculation that Dalí sensed in the work of this otherwise very different painter a sort of dreaminess that would, you'd think, appeal to a Surrealist painter.
All the images here were found at Virtual Dalí. As always, click on the images to enlarge them.
The titles are, in order, Apparition of the Town of Delft (1936), The Lacemaker (1955), and Paranoiac--Critical Study of Vermeer's Lacemaker (1955). As a bonus for you fans of Velázquez, I've also included Dalí's very late painting, The Pearl (1981).
2 comments:
Old Sal must have have been on a permanent high. He saw things that others cannot see.
Winston, my two favorite things Dalí ever said are: "I do not use drugs; I am drugs" and "The difference between me and a madman is that I am not mad."
Thanks for stopping by. I do like the first painting because it's more like a tribute to Vermeer than the others are; personally, I think the others are less successful--almost more Dadaist than surrealist. Still, they're curious in the way that, say, a Beatles tribute band doing "Stairway to Heaven" Beatles-style is curious.
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