About Salvador Dali Self Portrait Statue – Soft Self Portrait With Fried Bacon (1941)
This Parastone resin sculpture is a three-dimensional representation of the Spaniard surrealist Artist, Salvador Dalí’s original work Soft Self Portrait With Fried Bacon, oil on canvas made in 1941 showing a specter full of irony, where an amorphous, soft face appears, supported by crutches. Dali considered his self-portrait, with a pedestal that bears the inscription of the title of the work. Above, there is a slice of fried bacon, a symbol of organic matter and of the everyday nature of his breakfasts in New York’s Saint Regis Hotel. Dali always remembered the piece of flayed skin with which Michelangelo represented himself in the Sistine Chapel. He argued the most consistent thing of our representation is not the spirit or the vitality, but the skin. As part of the Surrealism Art Movement, Dali self-portrait comes from his eight-year-exile in the United States, where he had fled from the Spanish civil war. The sometimes childlike enthusiasm and the drive of the American society appealed to Dali and he had a most productive period there. Under this influence, he appeared to reverse his “paranoid-critical” method. Dali self-portrait indicates that he painted more from the inside out. More details on Salvador Dali Self Portrait Statue – Soft Self Portrait with Fried Bacon (1941):
- Dimensions: 4.75″ x 3″ x 3″ inches (est)
- Weight: 2.2 lbs (est)
- Material: Resin
- Original Artwork: Dalí, Salvador. Soft Self Portrait with Fried Bacon. 1941. Oil on canvas. 61 x 51 cm. Dalí Theatre-Museum, Figueres.
- Part of Parastone’s Museum Collection.
About Salvador Dalí
The Surrealists’ exploration of the human psyche and dreams reached new heights in the works of the Spanish-born Salvador Dalí. In his paintings, sculptures, jewelry, and designs for furniture and movies, Dalí probed a deeply erotic dimension, studying the writings of Richard von Krafft-Ebing and Sigmund Freud, and inventing what he called the “paranoiac-critical method” to assist his creative process. As he described it, in his painting he aimed to “materialize the images of concrete irrationality with the most imperialistic fury of precision…in order that the world of imagination and of concrete irrationality may be as objectively evident…as that of the exterior world of phenomenal reality.” Dalí’s surrealist works are characterized by their haunting allegorical empty space where eve time has ended. An eerie, never-setting sun usually illuminates the barren landscapes, with often amorphous and imaginary creatures in the foreground. Dalí rendered every detail of this dreamscape with precise control, striving to make the world of his paintings convincingly real–in his words, to make the irrational concrete.