DIMENSIONS: (unframed) 8.1 x 5.3 ins/ 20.6 x 13.5 cm
MEDIUM: Pencil & Ink on Paper
SIGNATURE: Signed by the artist in black ink
stamp of the Perrot-Moore Museum, Cadaques, in pencil on right ’96’ Verso
‘Etude de Maillot de Bain Féminin’ Barcelona, 1965
P.O.A.
This beautiful study by Salvador Dalí is an original pencil drawing of a study of the female figure. The striking line work of this study, ‘Etude de Maillot de Bain Féminin’ Barcelona, 1965, lies in the restraint and the elegant balance of the line, specifically within the depth of colour effecting a lines intensity. This seemingly simple mark making actually involves more technical decisions to keep a minimalistic, clean finish without removing previous marks, only further highlighting the artist’s exemplary draughtsmanship.
Drawing played a central role in the artist’s oeuvre and the Surrealists, in general, as it became one of the predominant means of expression and innovation amongst the Surrealist group in the first half of the twentieth century. Dalí would continually sketch studies and designs for his much larger works. Each of these gives a fascinating insight into Dalí’s thought process and his unique perspective of the world, even revealing his interest in eroticism, optics and architecture. They stand on their own as precious works of art.
Dalí once said, “Drawing is the honesty of the art. There is no possibility of cheating: It is either good or bad.”
John Peter Moore, A former British Army Captain, first met Dali in 1956 when he was working with Film Producer and acclaimed Director Alexander Korda in Rome, whereby he arranged for him to be paid in cash for a painting of Laurence Oliver as Richard III. The two became friends. In 1960 Dali employed Moore as his Personal Secretary and from 1965, became his Business Manager. Together with Dali’s wife, Gala, they travelled regularly to New York for the winter, Paris for the spring and Cadaqués, in Northern Spain for the summer. Moore said later. ‘I suggested he make graphics, lithographs, bed sheets, shoes, socks, ties and anything saleable, ‘Although he was replaced in 1975, he maintained good relations with Dali and Gala. With his wife, Catherine Perrot, he opened the Perrot-Moore Museum in Cadaqués in 1978 to show his collection of Dali to the public. Some were gifts from the artist, others he had acquired through dealers, collectors or auctions. In 2003, aged 85 and with his reputation under fire, Moore closed the museum. He had no children and had decided to sell. Most works were sold at a huge auction in Paris organised by Artcuriel. Items coming from this source have, therefore, a direct link to Dali himself. Most if not all the works were stamped with the Museum stamp which can be seen on our work.
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Drawing played a central role in the artist’s oeuvre and the Surrealists, in general, as it became one of the predominant means of expression and innovation amongst the Surrealist group in the first half of the twentieth century. Dalí would continually sketch studies and designs for his much larger works. Each of these gives a fascinating insight into Dalí’s thought process and his unique perspective of the world, even revealing his interest in eroticism, optics and architecture. They stand on their own as precious works of art.
Dalí once said, “Drawing is the honesty of the art. There is no possibility of cheating: It is either good or bad.”
The artist, author, critic, impresario, and provocateur Salvador Dalí burst onto the art scene in 1929 and rarely left the public eye until his death six decades later. The auspicious occasion was the debut in Paris of Un Chien Andalou, a film Dalí made in collaboration with Luis Buñuel. Filmed in Paris, Un Chien Andalou strung together free-associative vignettes and made full use of the avant-garde technique of montage, including, most famously, a scene of a razor slicing into a woman’s eye.
The film catapulted Dalí to the center of the Surrealist community. An artistic and intellectual movement begun by André Breton in 1924, Surrealism championed the unconscious as the primary motor of human behavior, coupling this with an aspiration to political revolution. Although Dalí’s association with Surrealism was late-coming and short-lived (he would be expelled from the group in 1934), his arrival jolted new life into the movement.
Dalí’s chief theoretical contribution to Surrealism was his elaboration, in the early 1930s, of the “paranoiac-critical method”—a process, he wrote, to “systematize confusion and thereby contribute to a total discrediting of the world of reality.” The method described a deliberately disoriented state of mind that would allow an individual to connect unrelated things, forging fresh avenues of thought and creation. Around the same time, he also published several essays naming and defining the so-called “Surrealist object”: an object “functioning symbolically,” usually constructed from found items or readymade materials, and redolent with psychological power. His
