Robert Descharnes, Salvador Dalí (London: Thames and Hudson, 1988), 122 (ill.).Picasso/Miró/Dalí: Evocations d’Espagne (Madrid: Ministerio de Cultura, 1985), no.Pierre Ajame, La Double vie de Salvador Dalí (Paris: Ramsay, 1984), 94.Robert Descharnes, Dalí: la obra y el hombre (Barcelona: Tusquets, 1984), 199, 446 (ill.).Robert Descharnes, Dalí, sein Werk, sein Leben: die Eroberung, des Irrationalen (Köln, Germany: Dumont, 1984), 199, 455 (ill.).Robert Descharnes, Dalí, l’oeuvre et l’homme (Lausanne: Edita, 1984), 199, 446 (ill.).400 obras de Salvador Dalí de 1914 a 1983 (Madrid: Obra Cultural de la Caixa de Pensions, 1983), 108.El Surrealismo (Madrid: Taurus, 1982), 72.Simon Wilson, “Salvador Dalí,” in Salvador Dali, exh.“El escandalo de la ‘Expo-Dali,’” Mujer (Lima) 46 (January 1980), 42 (ill.).Homage to Dalí (Secaucus, NJ: Chartwell Books, 1980), 140.Galerie du Dragon, L’Objet surréaliste 1931–1937, exh.William Wilson, “Art review: Fun and Games in La Jolla”, Los Angeles Times (May 30, 1977), (ill.).Rubin, Art dada et surréaliste (Paris: Seghers, 1976), 249. Le Surréalisme (Paris: XXe siècle, 1975), 63.Tadao Ogura, Salvador Dalí, and Robert Descharnes, Dali (Tokyo: Shueisha, 1974), 51, 108, fig.Robert Descharnes, “Los Dalí del Museo Dalí”, Gaceta Ilustrada, año XIX, no.Robert Descharnes, Salvador Dalí (Köln, Germany: M.(Frankfurt am Main: Städtische Galerie und Städelsches Kunstinstitut, 1974), 30 (ill.). Robert Descharnes, Salvador Dalí (Paris: Nouvelles Editions Françaises, 1973), 160 (ill.).Salvador Dalí and André Parinaud, Comment on devient Dalí (Paris: Robert Laffont, 1973), 79, 223, 358.Cevasco, Salvador Dalí: Master of Surrealism and Modern Art (Charlotteville, NY: Story House, 1971), 19. Carlton Lake, In Quest of Dali (New York: Putnam, 1969), 72-74.Robert Descharnes and Clovis Prévost, La Vision artistique et religieuse de Gaudí (Lausanne: Edita, 1969), 8.Rubin, Dada, Surrealism and Their Heritage (New York: Museum of Modern Art, 1968), 145, fig. “Dalí presentará una gran exposición en Tokio,” Voluntad (May 8, 1964), 2.Robert Descharnes, The World of Salvador Dalí (New York: Harper & Row, 1962), 167.Robert Descharnes, The World of Salvador Dali (New York: 1962), 167. Leslie Lieber, “The Mystery of Venus’s Arms,” Los Angeles Times (Apr.Coates, “The Art Galleries: Dali–Despiau–Art Young,” The New Yorker (Jan. Chapman Reference Number 2005.424 Copyright © Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York,Ģ018 Extended information about this artwork Made 1936 Medium Painted plaster with metal pulls and mink pom-poms Dimensions 98 × 32.5 × 34 cm (38 5/8 × 12 3/4 × 13 3/8 in.) Credit Line Through prior gift of Mrs. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status On View, Gallery 289 Department Modern Art Artist Salvador Dalí Title Venus de Milo with Drawers Place Spain (Artist's nationality) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Influenced by the work of Sigmund Freud, Dalì envisioned the idea of a cabinet transformed into a female figure, which he called an “anthropomorphic cabinet.” Venus de Milo with Drawers is the culmination of his explorations into the deep, psychological mysteries of sexual desire, which are symbolized in the figure of the ancient goddess of love. For the Surrealists, the best means of provoking this revolution of consciousness was a special kind of sculpture that, as Dalí explained in a 1931 essay, was “absolutely useless … and created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character.” Dalí’s essay, which drew upon the ideas of Marcel Duchamp’s readymades, inaugurated object making as an integral part of Surrealist activities. The combination of cool painted plaster and silky mink tufts illustrates the Surrealist interest in uniting different elements to spark a new reality. Among Salvador Dalí’s many memorable works, perhaps none is more deeply embedded in the popular imagination than Venus de Milo with Drawers, a half-size plaster reproduction of the famous marble statue (130 /120 BC Musée du Louvre, Paris), altered with pom-pom-decorated drawers in the figure’s forehead, breasts, stomach, abdomen, and left knee.
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