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Salvador Dali. Self - Portrait Cubist. (1923).

 Cubism. 







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Salvador Dali. Self - Portrait Cubist. (1923). 104 x 75 cm. Oil and Joining on paperboard stuck on wood.

Between 1922 and 1923, and until in 1928, Salvador Dali is during his time cubist. For this Dali Self-portrait takes as a starting point the first pictures of Picasso which are analytical cubism, the portrait of Ambroise Vollard (1910), the Portrait of Daniel Kahnweiler (1910), the Poet (1911). 
In the self-portrait of Dali the architecture of the objects is completely broken up as in the analytical cubism but as the artist added joinings in his work which connect this one to reality and which make it possible to identify the objects the cubism of Dali in this picture becomes synthetic. As Picasso and Braque Dali stick pieces of newspapers, tapestry and vinyl on its painting. It was a play enters Braque and Picasso which were sent messages through their works. In this self-portrait, Dalí positions its own face in the center of the composition, it is perfectly recognizable. The remainder of the body and other elements, a coffee cup, a table, a chair can be guessed in work among rising lines and forms. As in the Portrait of Ambroise Vollard one guesses that the subject sat with a table and consumes a coffee by reading its newspaper. But whereas Picasso exploits the effect of prism for the face and breaks the forms with triangles and squares on the remainder of the painting, Dali in this Self-portrait uses especially long rectangles which are stretched upwards and which evoke a building. Can be a homage to the Futurism, which speaks in praise of speed, and to Carlo Carrà, which Dali also appreciated, because it seems that the picture is not static and that it is moving. 

The geometrical center of the picture is the single benchmark for the spectator.
The identifiable elements are in top with the face of the painter, on the right with the newspaper and the coffee cup, with a package of tobacco to be rolled on the left or one limps of small cigars.

The artist uses 4 natural points of interests. The face of the artist is on the left higher point, the newspaper and the cup is on the right tension field between 2 natural points of interests, the tobacco is located not far from the left lower natural point of interest. 


A great majority of the forms are rectangular, they are lengthened rectangles stretching itself upwards or downwards. However the painter uses a triangle for the face, a square for the newspaper, a rectangle positioned in the horizontal direction for the piece of vinyl stuck in top and in the center of the painting one can identify round forms which must appear of the elements of the table or chair. 

Because of the multiple rectangular forms laid out in oblique work gives an impression of rise. The general form evokes a building or a building stretching bottom upwards. 

Details : 

One easily identifies the hair, the eyes, the eyebrows, and the general shape of the face. 

As practiced it Braque and Picasso of the pieces of newspapers are stuck on work. 
Above Dali a half coffee cup painted.

It is one limps with cigars or with cigarillos, the shape of the object is not any doubt. At side one recognizes the round label of the control of the tobacco. 

Light : The most luminous zones are in the center without one being able to determine whether the light comes from left or right-hand side. 

Colours : Light contrasts between hot and cold colours.

Similar Paintings : 

Pablo Picasso. Portrait of Ambroise Vollard. 1910.

Pablo Picasso. Portrait of Daniel-Henry Kahnweiler. 1910.

Pablo Picasso. The Poet. 1911.